...is back! So much water since years in the ZwillbrockerVenn ;-)

**Zadarski arhipelag od 2. do 4. listopada 2026. godine ponovno postaje središte jedinstvene sportske avanture. Treće izdanje _Archipelago Trail Runa_ povezat će Pašman, Dugi otok i Ugljan kroz višeetapno _island-hopping_ iskustvo u kojem trčanje prirodnim stazama i plovidba**

**Zadarski arhipelag od 2. do 4. listopada 2026. godine ponovno postaje središte jedinstvene sportske avanture. Treće izdanje _Archipelago Trail Runa_ povezat će Pašman, Dugi otok i Ugljan kroz višeetapno _island-hopping_ iskustvo u kojem trčanje prirodnim stazama i plovidba morem čine neraskidivu cjelinu.** Za razliku od klasičnih utrka, na ovom događaju more predstavlja ravnopravan dio natjecateljske trase. Sudionici između otoka putuju katamaranom, a potom nastavljaju trčati kamenitim stazama, kroz maslinike, uz obalu te preko otvorenih vidikovaca s kojih se pruža pogled na Jadran. Organizatori ističu kako vožnja brodom nije tek običan prijevoz do startne linije, već jedan od ključnih i najupečatljivijih trenutaka cjelokupnog doživljaja. Zadarski arhipelag obuhvaća više od 300 otoka, otočića i hridi. Njegova iznimna geografska razvedenost, koja predstavlja jednu od najvećih atrakcija regije, ujedno je bila i glavni organizacijski izazov: kako povezati nekoliko otoka u jedinstveni trail koncept? Odgovor je pronađen u fleksibilnom višeetapnom formatu koji su zajednički osmislili organizacija _Good4venture_ , destinacije okupljene pod brendom _Zadar Archipelago_ te lokalni partneri. Sama ideja proizašla je 2023. godine, dok je premijerno izdanje održano 2024. Od samoga početka cilj nije bio samo održavanje pojedinačnih utrka na otocima, već njihovo povezivanje u cjelovitu priču koja promovira trail trčanje kao model istraživanja arhipelaga. Sve veći odaziv međunarodnih natjecatelja, rastući broj trkača koji biraju višednevne pakete te uvođenje novog planinarskog programa potvrđuju novu dimenziju projekta. _Archipelago Trail Run_ se tako iz vikend-utrke postupno transformira u prepoznatljiv koncept aktivnog kasnoljetnog odmora na hrvatskim otocima. J.T.

**JPNN.com** , JAKARTA - Girl group global asal Indonesia, no na, merilis film pendek bertajuk _Speaker Freaker The Long Song_ menjelang peluncuran album debut, _Island Girl._

Running your own server means eventually facing the dreaded OS upgrade. _Island in the Net_ has lived on a DigitalOcean droplet for over a decade — created in 2013 and last upgraded to Ubuntu 22.04.5 LTS in 2022. With Ubuntu 24.04 now the supported release, it was time to step through the upgrade. The nudge to upgrade came from elsewhere: I had just updated all my Apple devices — iPhone, iPad, Mac, Apple TV, Apple Watch — to iOS 26, iPadOS 26, macOS 26, tvOS 26, and watchOS 26. That reminded me that while I keep my personal tech current, my server was lagging. If I wanted long-term support, fresh security updates, and newer software stacks, it was time to bring the droplet along for the ride. Ubuntu 22.04 (Jammy Jellyfish) is still supported, but 24.04 (Noble Numbat) is the newest Long Term Support (LTS) release. The reason for upgrading was straightforward: a five-year security horizon, newer stacks such as PHP 8.3 and Certbot 2.9, and cryptography defaults better aligned with current practices. Noble also brings in a refreshed kernel series and cleaner library transitions. After bumping all my Apple gear to their latest versions, leaving the server behind would have felt _inconsistent_. Preparation matters. Before touching anything, I set the conditions for rollback. I shut down the droplet to avoid filesystem inconsistencies, created a fresh snapshot in the DigitalOcean console, and dumped all MySQL databases with `mysqldump`. Even with a snapshot, I wanted the database in my own hands. I checked that DigitalOcean’s `do-agent` and `droplet-agent` were healthy, giving me visibility into CPU, memory, and network when it came back up. All the third-party repositories were parked in `/root/apt-bak`: Ondřej’s PPAs for PHP and Apache, an old Certbot PPA, and Google’s abandoned `mod_pagespeed`. With that safety net in place, I moved forward. I began with a screen session: `screen -S do-upgrade`, the old sysadmin habit to survive SSH hiccups. Then I ran `apt dist-upgrade` to bring 22.04 fully up to date. With that baseline in place, I launched `do-release-upgrade`. The upgrader enabled a failsafe SSH port on 1022, which I quickly allowed through UFW to avoid locking myself out. Then came the churn: hundreds of libraries replaced by their `t64` counterparts, admin tools removed, and third-party repositories disabled. The scroll of “Considering,” “Holding,” and “Removing” filled the terminal. At one point it felt less like an upgrade and more like a teardown. The challenges were predictable. In my original config, I had hardened my TLS policy without concern for deprecated browsers. Certbot warned me that my hardened `options-ssl-apache.conf` had been modified; I decided to keep my stricter TLS policy, even if it meant stepping outside the defaults. Both the legacy `sources.list` and the new `deb822` `ubuntu.sources` defined archives, causing duplicate warnings that had to be resolved. The stress of dependency churn was unnerving, but I reminded myself the snapshot was waiting if everything collapsed. After rebooting into Noble, the work wasn’t done. I restored only the DigitalOcean repos, confirmed both agents were active, and deliberately left the old PPAs, Jammy ESM stubs, and `mod_pagespeed` behind. I reinstalled admin tools that had vanished in the transition: `nmap`, `tcpdump`, and `jq`. LXD is now delivered as a snap, so I adjusted for that. Certbot came from Ubuntu’s own repo at version 2.9.0, with `certbot.timer` enabled and a dry-run renewal passing cleanly. Apache kept its hardened TLS settings — TLS 1.2 and 1.3 only, AEAD suites, and session tickets off — but I enabled `http2` and `brotli` for performance. Cleaning up the sources left only `noble`, `noble-updates`, `noble-security`, `noble-backports`, and the DO repos. A final `apt update` ran clean with no duplicates. A few lessons stood out. **Snapshots are non-negotiable** before an upgrade; without one I would never have risked the upgrade process. **Restoring old PPAs blindly is a mistake** ; Bionic and Jammy entries have no place on Noble. Staying opinionated about TLS security is the right choice — Ubuntu’s defaults serve the middle, but I prefer a stricter config. Admin utilities will vanish; keep a list of what you actually use. And `deb822` is the way forward; it cleans up the cruft that accumulates in `sources.list`. The upgrade from Ubuntu 22.04.5 to 24.04 was prompted by both necessity and rhythm. The necessity was obvious: extended support, updated stacks, and security aligned with current best practices. The rhythm was personal: I had just upgraded every other part of my digital life, and the server needed to keep pace. The process was tense, requiring snapshots, backups, and patience, but the end result is a server that is leaner, more secure, and aligned with my broader ecosystem. WordPress continues to run as before, but now it sits on a foundation that will be supported for years to come. ### Like this: Like Loading... Information Security Technology Brotli Certbot Digital Ocean DigitalOcean HTTP/2 Linux Linux Administration Ondřej PPA Open Source Software System Administration Ubuntu 24.04 Upgrade WordPress WordPress Server

Hi _Island In The Stars_ backers, You may have seen the news about a proposed 100 % U.S. tariff on films that rely on overseas production incentives—such as Australia’s Producer Offset, which we’d been incorporating into our overall plan. While the policy isn’t final, we always plan ahead. **What this means for us:** * We’re proactively exploring a U.S.‑based shoot in a state that offers strong production services and tax rebates in case we need to. * A domestic option would reshape the budget and logistics but could keep the project tariff‑proof and revise schedule. * These discussions are in the very early stages; no decisions have been made yet. As soon as we have concrete details—whether on new budget projections, state incentive packages, or how this might affect our timeline—you’ll be the first to know. Your support and flexibility give us the confidence to navigate these industry curveballs and keep our cosmic adventure on course. Thank you for staying with us on this journey! With gratitude, Tom Konkle & the _Island In The Stars_ team

When _inZoi_ first hit PC in early access, it didn’t just enter the life-sim arena — it kicked the door open with Unreal Engine 5 visuals, ambitious sandbox systems, and a dash of controversy. Now, developer Krafton has confirmed that the game will make its console debut on **PlayStation 5 in the first half of 2026** , fully optimized for the platform and likely bundled with its first major expansion, _Island Getaway_. Announced as a bold rival to _The Sims_ , _inZoi_ promised a more immersive, open-ended life simulation — one where players could not only build homes and shape characters, but also customize entire cities, take on interactive jobs, and craft emergent stories. Its early marketing leaned heavily on freedom, even infamously showcasing a “run over children” bug that went viral before being patched out. When it launched on PC, _inZoi_ sold **one million copies in its first week** — a staggering figure for a new IP in the genre. But like many early access titles, the initial surge was followed by a drop in active players, as the community waited for promised features and polish. The PC reception has been a mix of admiration and caution. Here’s what stood out from early impressions: **Aspect**| **Praise**| **Criticism** ---|---|--- **Visuals & Performance**| Stunning Unreal Engine 5 graphics; highly detailed environments| Demanding on hardware; occasional performance dips **Character & Build Tools**| Deep character editor; flexible build mode| Some inconsistencies in facial editing; grid-based build limitations **Gameplay Systems**| Interactive jobs, city customization, and creative freedom| Life-sim core feels barebones; missing basic social features like multitasking **Content Depth**| Strong foundation for future updates| Limited variety in careers; repetitive loops; bugs and QoL gaps Steam forum discussions echo this split: life-sim enthusiasts see _inZoi_ as a promising sandbox worth supporting, while others recommend waiting for more content and stability. ## **The PS5 Leap: What to Expect** Krafton’s press release promises that the PS5 version will deliver “all of the key systems and features that define the PC experience, reworked for console controls and performance”. That means: * **Optimized UI** for controller navigation * **Performance tuning** to maintain visual fidelity without PC-level hardware demands * Likely inclusion of _Island Getaway_ , the tropical-themed DLC slated for 2025 If executed well, the PS5 launch could reintroduce _inZoi_ to a broader audience — one less concerned with early access caveats and more eager for a polished, content-rich life sim. ## **Can It Challenge The Sims’ Throne?** The life-sim genre has long been dominated by _The Sims_ , with _Animal Crossing_ and _Stardew Valley_ carving their own niches. _inZoi_ ’s edge lies in its blend of high-end visuals, city-scale customization, and a more open-ended approach to player creativity. But to truly rival EA’s juggernaut, it will need to address the depth and polish concerns raised by early adopters. _inZoi_ ’s PS5 debut in 2026 isn’t just a port — it’s a second chance to make a first impression. If Krafton can deliver on its promises and bring the game’s systems to maturity, it could become the most serious challenger _The Sims_ has faced in years. ### About The Author #### GeeZusGG See author's posts * ### Like this: Like Loading... Tags: Games Gaming News inZOI inZOI Studio Krafton News Playstation 5 Video Games Videogames ## Continue Reading Previous: PUBG Says Goodbye to Xbox One & PS4 This November — The End of an Era

 When we think of an apocalyptic soundtrack, our minds often gravitate toward epic scores filled with tension, deep percussion, and dramatic strings—think of the iconic music in disaster films like _2012_ or _Independence Day_. But what if the soundtrack to the world’s end didn’t come with a heavy, foreboding atmosphere? What if, instead, it was an upbeat, carefree tune—like Weezer’s _Island in the Sun_? This seemingly lighthearted and breezy 2001 classic has an almost childlike innocence to it. The song’s jangly guitars, whimsical vibe, and lyrics about a carefree escape to a sunny island feel worlds away from any disaster scenario. Yet, in an almost paradoxical twist, there’s something deeply fitting about pairing _Island in the Sun_ with the dramatic imagery of the world crumbling—whether it’s a black hole devouring Earth, a massive tsunami engulfing coastlines, or any other disaster that signals the end of everything. The more you think about it, the more the song becomes an ideal soundtrack for an apocalyptic film. Here’s why. ### The Unexpected Contrast The charm of _Island in the Sun_ lies in its contradiction. The song’s lyrics express a longing for simple pleasures, free from responsibility and burden. “We'll be playing and having fun / And it makes me feel so fine I can't control my brain..” These words suggest an idyllic world where everything is peaceful, almost utopian. It’s the antithesis of what we expect to accompany the end of the world. Imagine the scene: the Earth is in chaos, a black hole is slowly pulling everything into its cosmic void. Cities are crumbling, panic spreads, and people are fleeing for their lives. The soundtrack kicks in with the soft, serene melody of _Island in the Sun_. The song, almost absurdly, juxtaposes the gravity of the situation, creating an eerie sense of dissonance. This unexpected contrast between music and imagery—between the tranquility of the song and the devastation happening on screen—actually creates a uniquely emotional experience. It forces the audience to confront the absurdity of existence: everything is falling apart, but life continues, both in the natural world and in the personal, emotional experiences of the characters. ### The Ironic Joy of the Final Moments There’s a level of dark humor in choosing a song like _Island in the Sun_ for an apocalyptic movie. The song, with its carefree mood and upbeat guitar riffs, suggests joy, freedom, and escape—exactly what we expect to feel in an idyllic moment, not during the last days of civilization. But isn’t that exactly what makes it work? We live in a world that constantly feels like it’s on the brink of collapse, whether it’s due to climate change, political turmoil, or global conflicts. There’s a strange, almost nihilistic acceptance that the end could come at any moment. So, using a song that embodies carefree bliss at such a climactic point only heightens the emotional complexity. We know things are falling apart, but we also know, deep down, that this too is part of the human experience. For example, imagine a scene where a character watches the world spiral into chaos but can’t help but smile at the absurdity of it all, the absurdity of human life. The bright melody of _Island in the Sun_ would underscore this darkly comic moment—making us laugh, perhaps nervously, while also making us reflect on the strange joy that can still exist in moments of total despair. ### The Song’s Whimsy as a Last Escape There’s something to be said for the way _Island in the Sun_ taps into a kind of nostalgia—whether it’s the idyllic imagery of a distant beach or the simplicity of life before the burden of adult responsibilities. In an apocalyptic setting, this song could become an emotional anchor for the characters who cling to the last remnants of joy in a world that no longer makes sense. The opening line, “When you’re on a holiday/ You can't find the words to say,” can be interpreted as a promise of companionship in the face of annihilation. Perhaps, as the black hole grows larger, sweeping cities off the map, a small group of survivors finds solace in one another, banding together in the final moments. _Island in the Sun_ becomes the anthem for their fleeting, but cherished, sense of unity and warmth before everything vanishes into oblivion. The song transforms from a carefree anthem to a bittersweet farewell, becoming a poignant reminder of the beauty and simplicity that life once held. It’s the last moment of peace, before the inevitable chaos consumes it all. The bright guitars and airy vocals echo the fleeting moments of calm, the final rays of sunshine before darkness falls. ### The Power of Subversion One of the most powerful cinematic techniques is the use of music to subvert expectations. Filmmakers have long used this method to enhance emotional moments by pairing unexpected songs with visual cues. In Quentin Tarantino’s _Kill Bill_ , for example, the use of Nancy Sinatra’s “Bang Bang” in a bloody revenge sequence creates a surreal feeling that enhances the violence, making it all the more impactful. Similarly, _Island in the Sun_ in an apocalyptic disaster sequence would heighten the surreal, dreamlike nature of the world’s end. This kind of subversion heightens the sense of detachment from reality. As viewers, we might expect the film to be filled with intense, dramatic music, but instead, we’re met with a song that embodies a kind of carefree innocence. In a movie that explores themes of loss, survival, and the absurdity of life, _Island in the Sun_ could serve as a jarring reminder of the disconnect between the human desire for happiness and the inevitability of destruction. ### Conclusion: A Song for the End of Days In an age where the world feels constantly on the edge of collapse, it’s fascinating to think about how a song like _Island in the Sun_ could fit into an apocalyptic narrative. While it may seem an odd choice at first, the song’s upbeat melody and sunny lyrics provide an emotional complexity that few disaster movie soundtracks could offer. _Island in the Sun_ ’s juxtaposition with apocalyptic visuals—such as the slow, inevitable pull of a black hole—creates a unique, ironic, and even surreal cinematic experience. It captures the absurdity of the human condition: despite the end, we still long for moments of joy, for a taste of the innocence and carefree nature we once had. The song, in the context of a disaster movie, takes on new meaning—becoming a melancholic, ironic anthem for the final moments before everything falls apart. And in that strange, conflicting space—where light meets dark, and joy meets destruction—the song would somehow, improbably, work.

 When we think of an apocalyptic soundtrack, our minds often gravitate toward epic scores filled with tension, deep percussion, and dramatic strings—think of the iconic music in disaster films like _2012_ or _Independence Day_. But what if the soundtrack to the world’s end didn’t come with a heavy, foreboding atmosphere? What if, instead, it was an upbeat, carefree tune—like Weezer’s _Island in the Sun_? This seemingly lighthearted and breezy 2001 classic has an almost childlike innocence to it. The song’s jangly guitars, whimsical vibe, and lyrics about a carefree escape to a sunny island feel worlds away from any disaster scenario. Yet, in an almost paradoxical twist, there’s something deeply fitting about pairing _Island in the Sun_ with the dramatic imagery of the world crumbling—whether it’s a black hole devouring Earth, a massive tsunami engulfing coastlines, or any other disaster that signals the end of everything. The more you think about it, the more the song becomes an ideal soundtrack for an apocalyptic film. Here’s why. ### The Unexpected Contrast The charm of _Island in the Sun_ lies in its contradiction. The song’s lyrics express a longing for simple pleasures, free from responsibility and burden. “We'll be playing and having fun / And it makes me feel so fine I can't control my brain..” These words suggest an idyllic world where everything is peaceful, almost utopian. It’s the antithesis of what we expect to accompany the end of the world. Imagine the scene: the Earth is in chaos, a black hole is slowly pulling everything into its cosmic void. Cities are crumbling, panic spreads, and people are fleeing for their lives. The soundtrack kicks in with the soft, serene melody of _Island in the Sun_. The song, almost absurdly, juxtaposes the gravity of the situation, creating an eerie sense of dissonance. This unexpected contrast between music and imagery—between the tranquility of the song and the devastation happening on screen—actually creates a uniquely emotional experience. It forces the audience to confront the absurdity of existence: everything is falling apart, but life continues, both in the natural world and in the personal, emotional experiences of the characters. ### The Ironic Joy of the Final Moments There’s a level of dark humor in choosing a song like _Island in the Sun_ for an apocalyptic movie. The song, with its carefree mood and upbeat guitar riffs, suggests joy, freedom, and escape—exactly what we expect to feel in an idyllic moment, not during the last days of civilization. But isn’t that exactly what makes it work? We live in a world that constantly feels like it’s on the brink of collapse, whether it’s due to climate change, political turmoil, or global conflicts. There’s a strange, almost nihilistic acceptance that the end could come at any moment. So, using a song that embodies carefree bliss at such a climactic point only heightens the emotional complexity. We know things are falling apart, but we also know, deep down, that this too is part of the human experience. For example, imagine a scene where a character watches the world spiral into chaos but can’t help but smile at the absurdity of it all, the absurdity of human life. The bright melody of _Island in the Sun_ would underscore this darkly comic moment—making us laugh, perhaps nervously, while also making us reflect on the strange joy that can still exist in moments of total despair. ### The Song’s Whimsy as a Last Escape There’s something to be said for the way _Island in the Sun_ taps into a kind of nostalgia—whether it’s the idyllic imagery of a distant beach or the simplicity of life before the burden of adult responsibilities. In an apocalyptic setting, this song could become an emotional anchor for the characters who cling to the last remnants of joy in a world that no longer makes sense. The opening line, “When you’re on a holiday/ You can't find the words to say,” can be interpreted as a promise of companionship in the face of annihilation. Perhaps, as the black hole grows larger, sweeping cities off the map, a small group of survivors finds solace in one another, banding together in the final moments. _Island in the Sun_ becomes the anthem for their fleeting, but cherished, sense of unity and warmth before everything vanishes into oblivion. The song transforms from a carefree anthem to a bittersweet farewell, becoming a poignant reminder of the beauty and simplicity that life once held. It’s the last moment of peace, before the inevitable chaos consumes it all. The bright guitars and airy vocals echo the fleeting moments of calm, the final rays of sunshine before darkness falls. ### The Power of Subversion One of the most powerful cinematic techniques is the use of music to subvert expectations. Filmmakers have long used this method to enhance emotional moments by pairing unexpected songs with visual cues. In Quentin Tarantino’s _Kill Bill_ , for example, the use of Nancy Sinatra’s “Bang Bang” in a bloody revenge sequence creates a surreal feeling that enhances the violence, making it all the more impactful. Similarly, _Island in the Sun_ in an apocalyptic disaster sequence would heighten the surreal, dreamlike nature of the world’s end. This kind of subversion heightens the sense of detachment from reality. As viewers, we might expect the film to be filled with intense, dramatic music, but instead, we’re met with a song that embodies a kind of carefree innocence. In a movie that explores themes of loss, survival, and the absurdity of life, _Island in the Sun_ could serve as a jarring reminder of the disconnect between the human desire for happiness and the inevitability of destruction. ### Conclusion: A Song for the End of Days In an age where the world feels constantly on the edge of collapse, it’s fascinating to think about how a song like _Island in the Sun_ could fit into an apocalyptic narrative. While it may seem an odd choice at first, the song’s upbeat melody and sunny lyrics provide an emotional complexity that few disaster movie soundtracks could offer. _Island in the Sun_ ’s juxtaposition with apocalyptic visuals—such as the slow, inevitable pull of a black hole—creates a unique, ironic, and even surreal cinematic experience. It captures the absurdity of the human condition: despite the end, we still long for moments of joy, for a taste of the innocence and carefree nature we once had. The song, in the context of a disaster movie, takes on new meaning—becoming a melancholic, ironic anthem for the final moments before everything falls apart. And in that strange, conflicting space—where light meets dark, and joy meets destruction—the song would somehow, improbably, work.

I’m currently reading _The Power Broker_. Are you impressed? You should be. I am big-boy writer who reads big-boy books. A thousand-page investigation into the life of a powerful bureaucrat is nothing to me. I’m gonna finish _The Power Broker_ , and then you will regard me as one of the world’s elite readers, as you should. There’s just one problem. I’m also reading _Paper_ , by Mark Kurlansky. And _Island of the Blue Foxes_ , by Stephen Brown. And _Coffeeland_ , by Augustine Sedgewick. And a dozen other books too, all at the same time. I also paused in the middle of reading all of those books to read, in its entirety, a history of The Cars, even though I was never that into The Cars. Reading that book led me to reading an entire oral history of MTV’s first decade on the air, which led me to reading an entire oral history of the Sunset Strip hair metal scene in the 1980s. Oh and after that, I finally started Mick Herron’s _Slow Horses_ novels, which I’m definitely gonna finish before I return to all of those other books I’m reading, like the first one I mentioned— _The Power Broker_. I think that was the name of it. I’ll get back around to Robert Caro’s Pulitzer winner eventually. For now though, it sits in my Kindle library, sharing low completion percentages with multiple other tomes, some of which I haven’t picked back up in years. I also have a pile of somewhat-read dead-tree books stacked next to my nightstand. That pile used to rest _on_ my nightstand before it grew too tall and wobbly. Now it serves as its own little extra nightstand in our bedroom. Sometimes I throw a T-shirt onto it.

Cheng, Wendy. Island X: Taiwanese Student Migrants, Campus Spies, and Cold War Activism. Seattle: University of Washington Press, 2023. 270 pp. $30.00 (paper), ISBN 9780295752051. Reviewed by Brandon Willadsen (Texas A&M) Published on H-War (September, 2025) Commissioned by Margaret Sankey (Independent Scholar)

Cheng, Wendy. Island X: Taiwanese Student Migrants, Campus Spies, and Cold War Activism. Seattle: University of Washington Press, 2023. 270 pp. $30.00 (paper), ISBN 9780295752051. Reviewed by Chichi Peng (SGS Taiwan) Published on H-Diplo (October, 2024) Commissioned by Seth Offenbach (Bronx Community College, The City University of New York)

El simulador de vida de Krafton, disponible en acceso anticipado para PC, recibirá este mes el contenido adicional 'Island Getaway', que ampliará las interacciones entre Zois. El primer DLC de inZOI llega **gratis** el **20 de agosto** , ha anunciado **Krafton** este viernes en un comunicado de prensa. El simulador de vida que trata de rivalizar con _Los Sims_ se ampliará con **_Island Getaway_** , un contenido adicional de temática veraniega que añade un **mapa isleño** y funcionalidades como los **cultivos** y la minería, y que **mejora las interacciones** entre los personajes que habitan su mundo. El nuevo mapa es **Cahaya** , un archipiélago inspirado en las zonas tropicales del sudeste asiático. Se compone de una **isla principal y otra vacacional** donde los jugadores podrán **nadar, navegar y bucear** con sus Zois. También se introducen vestimentas, peinados y elementos decorativos que transmiten la estética veraniega. El contenido adicional añade, además de vehículos como **motos y patinetes eléctricos** , dinámicas de juego: **cultivo, minería, fabricación de gemas y pesc** a. Asimismo, se amplían las interacciones entre los personajes. Krafton explica: "Nuevos sistemas como **reuniones aleatorias, burbujas de pensamiento y acciones cooperativas** permitirán a los jugadores crear historias más ricas y momentos emergentes entre Zois". **Hyungjun "Kjun" Kim, director** del juego y director ejecutivo de inZOI Studio, afirma que las **opiniones de los jugadores** vertidas desde el estreno del acceso anticipado en marzo han dado forma al contenido adicional. "Este DLC refleja la visión que hemos desarrollado junto a nuestra comunidad", dice en el comunicado, donde añade que _Island Getaway_ **es "solo el principio"**. ## Se sabrá más de _Island Getaway_ el 15 de agosto Una versión preliminar y en fase de pruebas del **control con mando** acompaña al DLC gratuito, que presentará **mejoras en la interfaz** de usuario y más de 90 nuevas pistas musicales. Se conocerán más detalles de _Island Getaway_ en una **emisión en directo** que tendrá lugar en los canales oficiales de YouTube y Twitch de inZOI el 15 de agosto a las 3:00 a.m. (hora peninsular española). Podéis ver las **primeras imágenes** al final de esta noticia. El **tráiler** del contenido adicional se presentará en la conferencia de apertura de Gamescom 2025, que tendrá lugar en la tarde del 19 de agosto. Un día después, Krafton estrenará el acceso anticipado de _inZOI_ para Mac a través de Steam y Mac App Store. Se trata de una versión optimizada para los ordenadores con _chips_ de Apple.

Contributed by Marcus Dutton _Island Records. License: All Rights Reserved. _ From Wikipedia: > “Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, _Different Class_ (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release. > > “Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from _Different Class_ after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim. [More info on Discogs] Typography-wise, the single follows the choices made for the album, with **Chromium One** for the band logo (also by The Designers Republic) and **Windsor Extra Bold Condensed**. The palette is completed by italic **Poster Bodoni** and **Helvetica**. _Island Records. License: All Rights Reserved. _ _Island Records. License: All Rights Reserved. _ This post was originally published at Fonts In Use * * *