Television: Encantadia


Eleven years ago, when I was still in college, local network GMA-7 embarked on an ambitious journey to create a fantastical world where magic and monsters exist. And although my initial intention in watching the first episode were less than honorable, I was instantly hooked.

Encantadia was nothing like anything else on television–in the Philippines or abroad. Sure, we had the Lord of the Rings, but that was a cinematic event. On television, Game of Thrones was still six years away, the Shannara Chronicles had ten years more to go. One of the earliest completely fantastical television shows, Legends of the Seeker, began in 2008. And all of those are television programs that aired once a week with a lot of time to prep and produce each episode. Encantadia was a soap opera that aired five days a week.

I’m not saying that to build up an apology for what the program was–mostly, because if you’ve seen the original series, there really isn’t anything to apologize about. Encantadia rolled with the punches and dealt with limitations and restrictions through twists that made the show all the more interesting to watch.

A new generation of viewers were born in the era of Encantadia then. Smart viewers. Viewers who liked to be challenged. Viewers who then dreamed of seeing more programs like Encantadia.

I was one of those viewers. Fast forward to ten years later, and I’m now part of the team that’s shaping the “requel” of the series that got me interested in Philippine television again.

Now, before you ask– “Requel” was a term coined to distance the new Encantadia from the string of remakes being done by the local television networks. From MariMar, to Panday, to Pangako Sa ‘Yo, the series of old soap operas being remade for new viewers was leaving a sour taste in the mouth of their target markets. It’s either the remakes were too similar to the original, or they were too different.

That’s what Encantadia 2016 is striving to avoid.

By re-telling the original story with new twists and new information, new viewers will be able to follow what happened before without boring the viewers who have seen the original run (or has since streamed the original series on iFlix). We’re reshaping the narrative so things that happened originally are told in new and surprising ways. That way, we get to keep the old fans on their toes–while tipping our hat to the fact that they know where things are going.

But all of these retelling serves only one purpose: it’s to get all viewers (old and new) abreast to the ending of the original series. It’s to familiarize everyone again with the characters that were loved before. It’s to set up a new chapter alongside the old ones.

Because a “requel” isn’t just a retelling. It’s a sequel too. And I am telling you: the fan in me? The one that dreamed to write his own fantasy series because of the original Encantadia? He’s very giddy at the plans that are being set up and planted in the first part of Encantadia 2016.

I am promising you: this is going to be one heck of a ride.

Encantadia airs weeknights after 24 Oras, on GMA Network in the Philippines.

Book: The Fireman

"The Fireman"

No one knows exactly when or where it began. A terrifying new plague is spreading like wildfire across the country, striking cities one by one… Dragonscale, a highly contagious, deadly spore that tattoos its hosts with beautiful black and gold marks–before causing them to burst into flames.

Harper Grayson, a compassionate, dedicated nurse treated hundreds of infected patients before contracting the deadly virus herself. When the outbreak first began, she and her husband, Jakob, had made a pact: they would take matters into their own hands if they became infected. To Jakob’s dismay, Harper now wants to live–at least until the fetus she is carrying comes to term.

Convinced that his do-gooding wife has made him sick, Jakob becomes unhinged, and eventually abandons her as their once-placid New England community collapses in terror.

But Harper isn’t as alone as she fears: a mysterious and compelling stranger, a man wearing a dirty yellow firefighter’s jacket and carrying a hooked iron bar, straddles the abyss between insanity and death. Known simply as The Fireman, he strolls the ruins of New Hampshire, a madman afflicted with Dragonscale who has learned to control the fire within himself, using it as a shield to protect the hunted…and as a weapon to avenge the wronged.

Halfway through The Fireman, I was already starting to piece together what my eventual blog post about the novel was going to be like; about the monstrosity in human beings, and the humanity that can be found in those perceived as monsters. This thesis stuck with me until I put the book down.

The thing is, when I started typing the book’s synopsis for this post, I found myself wanting to write about the synopsis instead. Because, while interesting and intriguing, the book synopsis is also misleading as to what the novel is truly about.

In it, we get a sense of the Fireman as this truly mysterious being whose presence will dictate whether the world would survive or fall to ashes. But The Fireman is about so much more than The Fireman, or Harper for that matter.

Imagine the comic book series of The Walking Dead. Imagine that you didn’t have to wait a month for each installment of the issue. Imagine the series if it weren’t being stretched out to last for as long as possible. (No shade. I still find The Walking Dead comic book series interesting and entertaining, unlike it’s television counterpart.) Imagine having an ending for The Walking Dead. Now take out the zombies, but keep the apocalypse, the factions, and the conflicts in what it takes to be human. That’s The Fireman.

It’s a study on humanity and monstrosity, and how we usually mistake one for the other because of appearances.

Joe Hill is a master at painting this world with just his words, all the while putting meaning behind the visuals he is drawing up for the readers. The way he describes the characters, their changes, and the relationships they create continuously push his message of solidarity, of compassion, and of so many other things.

Then you finish the novel and go back to the synopsis, and you can’t help but wonder: why the focus on just that? I understand the novel is called The Fireman, but why focus on just one aspect of his being? Why box Harper to just her relationship with Jakob?

Sure, Harper’s failed marriage with the unhinged Jakob plays a big part in how everything unfolds. And yes, the Fireman does have a big role in the story that is being told. But to limit the scope of the novel to just the two is doing the novel a disservice. Harper’s pregnancy and her relationship to Jakob, and the Fireman aren’t the be-all and end-all of this novel.

To anyone who has yet to read the novel, don’t bother reading the synopsis. The novel is wonderfully written, and is, in my opinion, Joe Hill’s most mature work yet. You won’t regret cracking the tome open and entering this world.

Book: The Hidden Oracle (The Trials of Apollo, Book 1)

"The Hidden Oracle"

My father’s voice still rings in my ears. Can you believe Zeus blamed me for the gods’ battle with Gaea? Just because the earth goddess duped one of my progeny–Octavian–into plunging the Greek and Roman demigods into a civil war that nearly destroyed human civilization. I ask you, how was that my fault?

Now I’m cast out of Olympus in the form of a sixteen-year-old mortal boy, acne and all! Sadly, I’ve been punished this way before. I know I will face many trials and hardships, I can only hope that if I suffer through them and prove myself worthy, Father will forgive me and allow me to become a god again.

But this time my situation seems much more dangerous. One of my ancient adversaries knows I am here and is having me followed. The Oracle of Delphi remains dark, unable to issue prophecies. Most embarrassing of all, I am bound to serve a demigod street urchin who defends herself by throwing rotten fruit.

Zeus could not possibly expect me to fix the Oracle problem by myself. Not in my present weak condition. It’s time for me to drop in on Camp Half-Blood, where I might find some talented fodder…er, I mean heroes to help0. No doubt they will welcome me as a celebrity! They will bring me holy offerings, like peeled grapes, Oreos, and–oh, gods–perhaps even bacon!

Mmm. Yes. If I survive this, I really must write an ode to the power of bacon…

I feel like half this blog post has already been taken over by the book’s back synopsis alone. And it’s not like the synopsis does a good job at selling the book. It doesn’t. In fact, I’m glad that this is actually the first time I’m reading this horrible synopsis–while typing it up. Because I very much would not have picked the book up based on the synopsis alone.

Ah, who am I kidding. This is Rick Riordan. And save for the really horrible Mark of Athena, I’ve enjoyed all of his books. Yes, even the ones from The Kane Chronicles. So even with this weird synopsis, I would have picked up the first book off The Trials of Apollo. I just wanted to say that the synopsis is horrible enough times that someone takes notice. And writes a better synopsis for the next book.

Because it really does a great disservice to the The Hidden Oracle, which I feel, is setting out to be a better series than both Percy Jackson and the Olympians, as well as Heroes of Olympus.

Of course, you first have to get over the fact that Apollo as a main character can get tiring pretty fast. And because Rick Riordan has been doing almost the same shtick for more than ten books, you can already see most of the twists coming a chapter away. But what this book has that the others don’t is interesting characters:

Apollo, as annoying as he is, is Riordan’s most flawed character ever–while still remaining a likeable goof. Meg, the aforementioned demigod street urchin, is a strong female character that has interesting non-romantic issues to deal with. And from the get go, we know that there will be no romantic subplot between the two that could wreak another Mark of Athena upon us.

And I love the fact that the book is told completely through Apollo’s perspective. There’s no jumping around between characters that makes cliffhangers annoying instead of page-turning. There is no split focus between characters that stops the main story moving forward.

The storytelling is linear, which I’m very thankful for, as there are no eleventh-hour twists that gets explained away by a new flashback detailing why said twist is supposed to work. And then, when we do get our twist (or rather, lack of twist?), it actually shakes up the relationship dynamics of characters that make readers look forward to the sequel. Because the new story potential doesn’t stem from the twist, but from how that twist affects our main character.

As I put the book down, I could tell that I was already looking forward to what the next book will bring. Especially with the revelations Riordan shares about the loose ends from his previous two demigod series. Now let’s just hope he doesn’t mess it up.

Movie: Captain America, Civil War

"Captain America: Civil War"

Marvel’s “Captain America: Civil War” finds Steve Rogers leading the newly formed team of Avengers in their continued efforts to safeguard humanity. But after another incident involving the Avengers results in collateral damage, political pressure mounts to install a system of accountability, headed by a governing body to oversee and direct the team. The new status quo fractures the Avengers, resulting in two camps-one led by Steve Rogers and his desire for the Avengers to remain free to defend humanity without government interference, and the other following Tony Stark’s surprising decision to support government oversight and accountability.

When I watched The Avengers: Age of Ultron, I was a little underwhelmed. Although I did enjoy watching the film, I had notes throughout on what I would’ve have done (storytelling-wise) that could have made the film better. But, now that I’ve had a few months to have some perspective on how I felt about the film, I understand that I was coming from a place of high expectations. The first Avengers film struck me speechless, and I was expecting the same for Age of Ultron. That was unfair. So when I first saw the trailer for Captain America: Civil War, I told myself to manage my expectations.

The Captain America films has been my favorite of the Marvel Cinematic Universe. The First Avenger was an amazing film that perfectly told the story of the classic Captain America and made it palatable to modern viewers. The Winter Soldier topped that by twisting expectations, and delivering the most non-superhero film that starred a superhero. In both films, the cast of characters had been manageable. There were only a handful, and each one of them played an integral part in telling the story. And then here comes Civil War with the problem that truly plagued the second Avengers film: an overly large cast with rich stories that remain untapped. Each one bursting to tell their own journey.

Civil War served them all well, without forgetting the fact that this is a Captain America film. That this closes his trilogy.

And what a closer it is. (Seriously. The film’s last shot? Not counting the after credits? It gave me goosebumps.)

I don’t know how many times my jaw dropped watching this film. The fears and questions I had while watching the trailer were all explained away, and most of the stuff that internet people have been concerned about made a lot of sense for me. As the credits rolled, all I could think of was this: I didn’t have to manage my expectations at all. Because while Civil War is no Winter Soldier, the film is still a solid Captain America film. And that is what’s important, right?

Civil War has more superheroes than either one of the Avengers films, but each one plays out their part and stays in their lane. A few breakout as scene-stealers, but none of them steals the movie from Chris Evans and Sebastian Stan. Not even Robert Downey Jr., who tones down his Tony Stark to give his most somber portrayal of the character since he was first handed the iron helmet. And it works.

Everything works.

There have been a lot of reports that it’s Spider-Man who people will remember from watching this film, but I disagree. Spider-Man is set-up wonderfully, yes. Tom Holland does give a nuanced take that balances the drama of Tobey Maguire’s version with the levity of Andrew Garfield’s take on the hero. But this is not his film to steal. He serves a purpose, and one of his scenes actually underlines the movie’s theme without being blatant about it. His scenes still pushes the Captain America story forward, while providing a break from the film’s serious tone. Writers Christopher Markus and Stephen McFeely still leaves Spider-Man’s story to whoever will be writing the webslinger’s own film.

As they do for the Blank Panther who makes quite the splashy entrance, and yet doesn’t overpower the strengths of the other characters.

The writers and directors Anthony and Joe Russo must be commended on using characters that haven’t been established yet to further the plot, without making the plot about them. They serve their purpose, but their own stories are purposely left out for their own films, without making moviegoers feel like they were shortchanged with these characters.

And I love how they use the absence of certain characters to push the story even further, to make the characters more three-dimensional.

But the best part of the film is how the number of superheroes isn’t overwhelming. Which… If these are the people working on the next two Avengers films? I think we can all rest easy, because we’re in good hands.

Captain America opens today in the Philippines. And I would like to thank my friend Chris Cantada for inviting me to the premiere of the film last Monday, April 25.

And, obviously, I didn’t get into the nitty gritty details of the film. I keep having to check myself that I’m not dropping spoilers by accident. But, if you’ve already seen the film and want to discuss it with me, hit me up in the comments. (This also serves as a warning to other readers to not read the comments section, if you don’t want to be spoiled.)

Book: Death Weavers (Five Kingdoms, Book 4)

"Death Weavers"

Cole is about to face his biggest peril yet.

Since arriving in the Outskirts, Cole and his friends have fought monsters, challenged knights, and battled rampaging robots. But none of that has prepared them Necronum.

In this haunting kingdom, it’s hard to tell the living from the dead, and secret pacts carry terrifying dangers. Within Necronum lies the echolands, a way station for the departed, where the living seldom venture.

Still separated from his power, Cole must cross to the echolands and rely on his instincts to help rescue his friends. With enemies closing in, Cole risks losing everything to find the one thing that might save them.

Before I begin, I must warn whoever is reading this that I’m not going to hold back on spoilers. So if you’re planning on picking the book up, I suggest clicking away and coming back once you’ve finished the fourth installment off Brandon Mull’s Five Kingdoms series. Now, with that out of the way–

I actually don’t know if I liked Mull’s penultimate book to his current series. I mean, leading up to the finale, Death Weavers definitely ups the stakes and does a good job at building the tension. But at the same time, it feels a bit… much.

Now, I praised Crystal Keepers for breaking out of the Mull mold. It didn’t feel like it was a part of the Fablehaven series, and it was very different from the Beyonders trilogy. And the best part? It continued the Five Kingdoms story without being a carbon copy of the two books that preceded it–whilst standing out as its own story. Unfortunately, in Death Weavers, Mull zags again by doubling down on the fantastical countryside capers.

And not only is the fourth book back on fantasy ground, Mull actually brings back a lot of characters from earlier books–and even a couple from the Beyonders trilogy.

The thing here is: when Drake and Ferrin, both well-loved characters from the Beyonders books, first popped up? I thought it was a great way of establishing where and what the Outskirts was. And then they joined the adventure. Which would’ve been great had it been necessary for them to be part of the adventure. It wasn’t. Mull could’ve created new characters to join them, and it wouldn’t have mattered. Their inclusion, by book’s end, felt more like fan service than a story necessity.

Then there’s the cop out with Destiny.

See, in each book, Cole Randolph is saving one princess at a time. In this book, he’s supposed to save and protect the youngest princess, Destiny, from the bad guys who want to take her power. When Cole finally finds Destiny, they immediately get cornered by bad guys. Which was a good plot development, I thought. Then Destiny jumped into the river where no one comes out off, and I was floored. It was a risky move. Especially for a Young Adult adventure book. I loved it because it presents new problems, and it will definitely develop the characters as they confront an important death–in the book that has the theme of death hovering over everyone!

And then Cole saves her.

This is when I started disliking the character of Cole. I know he’s supposed to be the all-powerful savior, and the hero to the entire series–but, it’s hard to root for a guy you know will end up winning in the end. Sure he makes mistakes, but he doesn’t really experience loss. And that makes for a pretty crappy hero’s journey.

Of course, with this being the second-to-last book off the series, I’m still definitely picking the next book up to see how it all gets wrapped up; but I must say that the Five Kingdoms isn’t living up to the legacy of the Beyonders trilogy. The world feels half-formed, and the characters don’t feel like real people most of the time. The villains are still vague, and we’re already four books in–and although they’re all said to be scary, none of them feels threatening because of how powerful our main protagonist is.

I guess I have made my mind up about Death Weavers after all.

It’s a pretty disappointing book overall, even if it does do its job of building up the finale.

Book: The Shadow Men

"The Shadow Men"

From Beacon Hills to Southie, historic Boston is a town of vibrant neighborhoods knit into a seamless whole. But as Jim Banks and Trix Newcomb learn in a terrifying instant, it is also a city divided–split into three separate versions of itself by a mad magician once tasked with its protection.

Jim is happily married to Jenny, with whom he has a young daughter, Holly. Trix is Jenny’s best friend, practically a member of the family–although she has secretly been in love with Jenny for years. Then Jenny and Holly inexplicably disappear–and leave behind a Boston in which they never existed. Only Jim and Trix remember them. Only Jim and Trix can bring them back.

With the help of Boston’s Oracle, and elderly woman with magical powers, Jim and Trix travel between the fractured cities, for that is where Jenny and Holly have gone. But more is at stake than one family’s happiness. If Jim and Trix should fail, the spell holding the separate Bostons apart will fail too, and the cities will reintegrate in a cataclysmic implosions. Someone, it seems, wants just that. Someone with deadly shadow men at their disposal.

The Shadow Men starts strong. Authors Christoper Golden and Tim Lebbon dive right into the premise of their novel, and our protagonists don’t wait around before taking action. And, this is a good thing, I didn’t even realize until after I finished the book that the entire story happened in just two days. Suffice to say: a lot happened, and there was no point in the novel where I paused, annoyed or otherwise, because of long pauses in action just to deliver exposition.

The clincher? The Shadow Men actually had a lot of exposition to cover. Especially since it had to establish two other Bostons existing with the one that’s supposedly in our world. But authors Golden and Lebbon are such experts at their craft that the exposition is delivered with the action–something you would think is more common in action novels, especially popular ones, but you’d be surprised.

But The Shadow Men‘s strength in delivering the action is also its one weakness. With so much happening, there were times that I had to go back and reread certain passages because I was starting to get confused. That, and there were moments when the action felt repetitive. Get caught. Run. Rinse, and repeat.

Aside from (just) one instance of this though, The Shadow Men is a stellar book. It ranks as my second favorite Hidden Cities novel, following the London-based Mind the Gap. It pulls no punches, never dilly-dallying when it comes to hitting the plot points, which had the effect of making readers (me, specifically) feel the adrenaline coursing through the characters–leaving us breathless.

I use the term “summer blockbuster movie” a lot when it comes to the I Am Number Four books, because of its penchant to prioritize action over character development and still remaining very entertaining. Following this logic, The Shadow Men would be something akin to an “epic movie” in which the action serves to make the viewers’ pulses race, as much as it pushes the characters to develop.

The Shadow Men came out in 2011. No other Hidden Cities book came out again after this. I hope that it’s because Golden and Lebbon are still looking for the perfect city and the perfect story to continue their series, and not because the publishers don’t want another one. Because I want another one.

Book: Where Futures End

"Where Futures End"

“Five Teenagers.
Five Futures.
Two Worlds.
One Ending.

One year from now, DYLAN develops a sixth sense that allows him to glimpse another world.
Ten years from now, BRIXNEY must get more hits on her social media feed or risk being stuck in a debtor’s colony.
Thirty years from now, EPONY scrubs her online profile and goes ‘High-Concept.’
Sixty years from now, REEF struggles to survive in a city turned virtual gameboard.
And more than one hundred years from now, QUINN uncovers the alarming secret that links them.

Five people, divided by time, determine the fate of us all. These are brilliantly connected stories of one world bent on destroying itself and an alternate world that just might be its savior–unless it’s too late.

In the future, who will you choose to be? And how will you find yourself before the end?”

I was excited when I first started reading Where Futures End. The first story, Dylan’s development of his ‘sixth’ sense that allows him to see and enter an alternate world, wasn’t very original–but it was very engaging. Sure, Dylan was a character that we’ve met time and again in many fantasy adventure novels, but there was something in the way author Parker Peevyhouse wrote him that makes you want to see him get his happy ending.

And then his story suddenly ends.

Brixney’s story was strange. Original, yes– But also very familiar in our social media-obsessed world. Again, we get a character worth rooting for, and a predicament you want to see unfold.

And then her story suddenly ends.

I’m starting to feel restless. What is the author’s purpose in cutting the stories off? Why aren’t they being allowed to flourish? We’re being given promising beginnings with no middle, and no end– But then, I remember: the book blurb promises a last story that would link all of these vignettes.

The third story with Epony was more self-contained. A short story that had a clear beginning, middle, and end. My need for a satisfying story was quenched–even if the story itself wasn’t as good as the first two. And then when the fourth story with Reef ends, I’m starting to feel that my enjoyment of the book was diminishing.

Still. No matter. The final story promises to link all the stories together. I tell myself that it will work out, probably, because why else would people be saying the story was good. I started to hold on to the promise of the book blurbs. Of people saying the book was good–

And then I read the final story. A story that was supposed to link all the stories together. And it does, yes. But the stories were already linked in the first place. Reef’s story was spurned on by Epony’s. Epony’s by Brixney’s. Brixney’s by Dylan’s. And yes, technically the book didn’t lie when it promised an alarming secret that links all five stories.

But it’s a horrible link. It doesn’t tie up the stories together. They remain vignettes of half-realized premises that never became whole. Except the third story. And as I turn the final page, I find myself asking if the gimmick of linking these stories with a last story was realized because the author couldn’t find a way to wrap up the individual stories. That she couldn’t push the story forward to a satisfying conclusion.

Because the book ends and I don’t get the point of it all.

Because the book ends, and the weakest story in terms of originality and characterization suddenly becomes the strongest for actually having an ending and character growth.

Because the book ends, and all I want is the chance to go back in time and stop myself from buying it. Or, at the very least, warn myself not to expect anything from it. Can I do that? Can I go back in time and stop myself from hoping that this book would give me any satisfaction?