Llega una nueva propuesta de Silent Hill, el mítico juego de Konami. Por si no lo conoces este es una franquicia de videojuegos de terror y supervivencia creada por Keiichiro Toyama. Los primeros cuatro títulos de la serie, Silent Hill, 2, 3 y 4: The Room, fueron desarrollados por Team Silent, grupo interno perteneciente a KCET. Las obras posteriores fueron creadas o desarrolladas por grupos no relacionados con el equipo original.
La serie está fuertemente influenciada por el terror psicológico y presenta a protagonistas sin cualidades o destrezas físicas fuera de lo normal; en contraste con otros títulos de terror y supervivencia. Las mecánicas de juego giran en torno a resolver acertijos, explorar el mapa en busca de objetos interesantes y combatir monstruos. Veinte años después de su creación, roocker666 encontró monstruos inéditos que Konami había mantenido dormidos en los ficheros del primer Silent Hill de 1999, plataforma PlayStation.
Una muestra de estos en video: mpv https://www.youtube.com/watch?v=lkuSjZNiABw&t=136s
Luego de todo este prologo te aviso que ya esta casi entre nosotros Silent Hill: Town Fall, con disponibilidad en plataformas PC via steam y PlayStation 5 , el youtuber Menos Trece, nos lo muestra antes de su lanzamiento oficial en su canal:
1er capitulo: mpv https://www.youtube.com/watch?v=ELIiA2Xdrrc La serie la seguirá en su canal secundario youtube.com/@MasMenosTrece
Por si tienes algún inconveniente al reproducir con mpv, lo mas seguro es que este desactualizado yt-dlp (principalmente en Debian, sucede esto). Espécificamente este error.
Tira de los trixie-backports: sudo tu_editor /etc/apt/sources.list.d/debian.sources (O en /etc/apt/sources.list, dependiendo de cómo tengas configurado tu Debian) sudo apt update sudo apt install -t trixie-backports yt-dlp Si tras actualizar, mpv sigue fallando, instala Node.js. sudo apt install nodejs En las versiones recientes de yt-dlp, YouTube requiere un motor de JavaScript externo en tu sistema para poder descifrar correctamente ciertas firmas de los videos. Una mierda, pero es lo que toca. En Arch btw!, no me pasa.
... and 3,500 US diplomatic personnel were either deployed elsewhere or given permission to flee for their lives. Other sources put diplomatic evacuees at up to 4,000. The State Department helped another 9,000 American civilians flee the region. This statistic shows an incredible exodus of American diplomats, businessmen and others from a region dominated and sometimes occupied by the US in recent decades. One State Department observer called it “unprecedented.” Even in the last days of the US presence in South Vietnam as the latter was falling, less than a thousand US diplomats were spirited out of the country.
... the New York real estate buffoon who used 9/11 to aggrandize his property’s height would become America’s president. Trump made certain to note that his building “actually, before the World Trade Center, was the tallest.” Like Al Qaeda leader Osama bin Laden, Trump then took his own 9/11 victory lap. “When they built the World Trade Center, it became known as the second tallest,” he observed of 40 Wall Street. “And now it’s the tallest.” Like innumerable Trump statements in the 25 years since, it was callous and cringe-worthy and, of course, untrue. Nearby 70 Pine Street was actually taller. ... theintercept.com/2026/09/11/bi…
In the absence of a miraculous baby boom or politically unpopular mass immigration, a growing number of experts urge a gradual downsizing. Takao Komine, senior researcher at the Japan Center for Economic Research, a think tank, is among those calling for “smart shrink”, a strategy in which population decline is assumed and public services are consolidated and made more efficient. Local governments are already retooling housing, transport and welfare for the elderly. Toyama city has built a light-rail transit system designed for older people and subsidises housing construction around its stations. It has heavily invested in a care centre that has helped tug people back to the city centre, raising property prices and taxes. The care centre is built on the site of a primary school that closed in 2004. Toyama and Nanmoku are at the vanguard of what Matanle calls a “turning point in human history”. The number of over-60s in the world passed one billion in 2019. By 2050 it will be 2.1 billion, according to the World Health Organisation, and the populations of 85 countries, mostly in Europe and Asia, will be shrinking. “The global population will peak around 50 years from now, in about 2070 or so, and then decline continuously from there. There’s very little we can do about it now,” says Matanle. Everybody should be watching what happens in Japan. This is their future.
Und wir sollten das beste und ehrlichste soziale Netzwerk nicht vergessen: Den #Amateurfunk #Hamradio. Einfach Gerät einschalten und CQ rufen auf unseren Frequenzen. Ach ja, und Antworten nicht vergessen.
Seit einigen Tagen arbeite ich intensiv mit der App OSMand auf dem iPhone zur Navigation mit dem Fahrrad. Die Erfahrungen sind sehr positiv, allerdings muss man sich zunächst mal mit dem Tool beschäftigen und es kennen lernen. OSMand ist sehr mächtig und das kann verwirren. Was schätze ich besonders im Vergleich zu Komoot: Komplette Offline Navigation, sehr schnelles Re-Routing wenn man von der Strecke abkommt, vielseitiges Kartenmaterial, transparentes Preismodell und dann keine elende Werbung mehr, Verzicht auf die "Community".
I don’t live in an ivory tower. More like a badly constructed tree fort. That’s where the music comes from — not from polish or privilege, but from weather, memory,…
Du meinst, wie Du bilder aus deiner Fotosammlung auf dem Handy hochladen kannst? Ich fuerchte, das ist recht speziell. Aber allgemein wuerde ich sagen, dass Du dafuer eine entsprechende App fuer Friendica brauchst, eventuell funktioniert auch eine Mastodon App mit Friendica, und dann muss die App die Berechtigung fuer deine Fotos haben...
But the planter class kept too much land. The traitor elite kept too much dignity. The Lost Cause kept too much cultural power. White terror kept too much room to organise. The courts gave Jim Crow too much legal cover. And the federal government abandoned Black Reconstruction too soon. That is the Confederate afterlife. See less
The panic is not that people have stopped loving music.
The panic is that people have started doing maths.
They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:
**No. This is not worth my survival.**
And now the industry acts wounded.
“Why are young people killing concerts?”
They are not killing concerts.
They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.
Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.
That is the obscenity.
They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.
People still want music.
They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.
What they do not want is to be treated as wallets with legs.
And here is the great lie cracking open: **the industry is not music.**
The ticket platform is not music. The promoter is not music. The stadium is not music. The brand campaign is not music. The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.
Music is older than markets.
Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.
The collapse of the overfed concert machine would not be the death of music.
It would be the choking of a parasite that mistook itself for the host.
So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:
**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**
People want lives.
They want beauty.
They want leisure.
They want experiences.
They want music.
But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.
Pay for what genuinely delights you. Support the artists and spaces that treat people like human beings. Let the bloated machine tremble.
## **Blue Dot Fever: The Worker’s Purse and the Death of the Stadium God**
The panic is not that people have stopped loving music.
The panic is that people have started doing maths.
They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:
**No. This is not worth my survival.**
And now the industry acts wounded.
“Why are young people killing concerts?”
They are not killing concerts.
They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.
Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.
That is the obscenity.
They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.
People still want music.
They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.
What they do not want is to be treated as wallets with legs.
And here is the great lie cracking open: **the industry is not music.**
The ticket platform is not music. The promoter is not music. The stadium is not music. The brand campaign is not music. The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.
Music is older than markets.
Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.
The collapse of the overfed concert machine would not be the death of music.
It would be the choking of a parasite that mistook itself for the host.
So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:
**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**
People want lives.
They want beauty.
They want leisure.
They want experiences.
They want music.
But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.
Pay for what genuinely delights you. Support the artists and spaces that treat people like human beings. Let the bloated machine tremble.
Plötzlich Facebook-Lobbyistin: Irlands einst höchste Datenschützerin wechselt die Seite
Jahrelang stand Helen Dixon in der Kritik, weil sie als irische Datenschutzbeauftragte zu nachsichtig mit Tech-Konzernen gewesen sei. Jetzt arbeitet sie für eine Anwaltskanzlei, die Meta in Verfahren gegen ihre Behörde vertreten hat. Für Datenschützende kommt das nur wenig überraschend.
As of today, during the night, the backlog of >5 Mio. worker queue items has been resolved and new posts are delivered on time again.
Hopefully it stays that way.
Counter measures were: - increasing count of CPU cores from 8 to 24 vCPUs - increasing memory size from 20GB to 65GB - redundant setup of Friendica behind a load balancer, so that two virtual servers can work on the backlog
Whileas CPU and RAM are back to their old settings, the redundant setup will stay and maybe extended to a third virtual machine.
Ah, and Nerdica.net now runs redundant on two VMs behind a load balancer. Sadly, sometimes both backends are offline, but in general it got a little better...
While the nation continues to process the shock and grief caused by the murder of far right activist Charlie Kirk, vile and thoughtless MAGA partisans are feverishly endeavoring to politicize the crime, blaming Democrats and liberals for allegedly...
Wenn ich mich bei Hubzilla einloggen will, erhalte ich folgende Meldung: Apologies but this site is unavailable at the moment. Please try again later. Zum Glück hab ich auf Nerdica dieses Profil wieder eingerichtet. Eigentlich nur für den Notfall. Aber der ist jetzt da.
Jetzt hab ich die Meldung: Gateway Timeout The gateway did not receive a timely response from the upstream server or application. Apache Server at hub.netzgemeinde.eu Port 443
Today I deleted my Facebook account, so here is a quick update on other ways to find me. * Fediverse: @Nekodojo * Bluesky: @g.nekodojo.org * Discord: nekodojo * Linked in: linkedin.com/in/nekodojo (no posts but DM works)
Ingo Jürgensmann
in reply to Andreas Wiegand-Apitz • •@Andreas Wiegand-Apitz Herzlich Willkommen!
Du meinst, wie Du bilder aus deiner Fotosammlung auf dem Handy hochladen kannst?
Ich fuerchte, das ist recht speziell. Aber allgemein wuerde ich sagen, dass Du dafuer eine entsprechende App fuer Friendica brauchst, eventuell funktioniert auch eine Mastodon App mit Friendica, und dann muss die App die Berechtigung fuer deine Fotos haben...
VG
Ingo