I really hope that inZOI Team will do K‑pop in the best possible way.
I really valued the Korean identity of the game from the moment it was announced, with its distinctive cultural features and a rapidly world‑conquering industry.
If the US has GTA, Japan has Ryu ga Gotoku, then Korea has inZOI.
I miss the time when they used to post shorts with in-game Saja Boys on X and record tracks with Andrew Choi. Back then I was so happy for them, since they managed to ride a bit on the crazy hype train of Kpop Demon Hunters, and considering that Krafton brought in aespa for a PUBG collab, and Kjun, as he writes, went to K-pop concerts (and maybe pretty chummy with someone, huh?, atm Jimin, Jennie x Rosé, Babymonster, Twice, and Itzy are trending, right? …
… there should be solid confidence in the update and the promo campaign – up to actual K‑pop performers recording tracks for stage shows, radio stations in smartphone app, venues and cars… and social media, followers, Starlight index, top charts, fan events, billboards, news, idol awards…
Importance of Social media / Bubbly social network
Discord:
Maybe the western artist don’t really need to use social media, but as someone who is a kpop fan, social media is an important feature to the kpop idol life.
A k‑pop idol’s (j‑pop, a-pop) career is unsustainable without social media. The popular animated film released this year puts significant emphasis on the dynamics of promotion. Contemporary Eastern industry exploits these mechanisms to the fullest, and btw, inZOI’s RL social networks are oriented toward Japan and Thailand, while the West…
Although before we also used to get published in X, but now it’s over.
Reference: Kpop Demon Hunters
Rhythm & Glory (From Streets to Arenas: Bands, DJ Lineups, Nightlife, Motors; K‑Pop, Dance, Idol Industry; URBZ-inspired)
There is work here on a potential DLC, but also on how to equally reflect the cultures/music and other subcultures of South Korea and the United States (Los Angeles):





















