06/05 — 2025 by abduzeedo Explore the vibrant branding and visual identity of Leiria Film Fest 2025, designed for broad appeal and lasting impact. The 12th edition of the Leiria Film Fest, held from May 19-25, 2025, presented an opportunity for a compelling visual refresh. Paulo Graça, known as Senhor Paulinho, embraced a design philosophy that is both vibrant and inclusive, setting a new standard for film festival branding and visual identity. His work reflects cinema's power to captivate audiences across generations. This approach moves beyond simple promotion. It seeks to forge an emotional connection, celebrating cinema's universal appeal. Senhor Paulinho's graphic concept uses an illustrative, almost "naive" aesthetic. This choice relies on simple shapes and hand-drawn lines. These elements evoke the spontaneity seen in children's drawings. They also recall the classic texture of film stock. This handcrafted feel bridges the gap between creating art and imagining stories. These two acts are central to both filmmaking and drawing. Such a visual identity extends beyond mere aesthetics. It serves a deeper symbolic purpose: inviting all ages into the cinematic experience. It creates an accessible and emotionally resonant graphic universe, paying tribute to projection, the moving image, and cinema's visual memory. The visual elements were designed for versatility. They scale across various platforms without losing impact. From printed materials like posters and programs to digital banners, festival merchandise, and venue signage, the branding remains cohesive. This adaptability ensures a strong visual identity throughout all communication stages. The imagery, featuring bold eyes and abstract film-like motifs, resonates with the festival's focus on competitive and special sessions, children's events, and even an after-party. This comprehensive branding and visual identity strategy aims to do more than simply advertise an event. It aims to spark curiosity and foster emotional engagement. It celebrates cinema's enduring ability to unite, inspire, and ignite imagination. The design extends an open invitation, welcoming everyone to a shared cultural experience that is both joyful and profound. It reinforces the festival's commitment to community and the arts. The success of the Leiria Film Fest's visual identity lies in its ability to communicate warmth and accessibility while maintaining a sophisticated design language. It is a testament to how thoughtful branding can elevate an event, making it more memorable and inviting. This project provides a valuable case study for designers seeking to create impactful and inclusive visual narratives. Graphic Design by Paulo Graça a.k.a. Senhor Paulinho. Visit his work at https://paulograca.com/en/projects/leiria-film-fest-2025. Branding and visual identity artifacts  Tags branding

House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

PlayStation Studios, Arc System Works (Arc), and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition. Play Video “From the beginning, we aimed to make MARVEL Tōkon: Fighting Souls a title that could be enjoyed by a wide variety of players,” explains Game Director and Lead Battle Designer, Kazuto Sekine. ”Generally, a team VS fighting game requires the player to learn multiple characters, but for MARVEL Tōkon: Fighting Souls, you only need to master one character in order to play the game. We have designed the mechanics in such a way that you can perform a variety of actions with either traditional fighting game inputs or simple inputs. With the press of a few buttons, multiple characters can appear on screen to provide backup or attack together – creating a new and exciting team VS battle experience.” “Since day one, our long-time and trusted collaborators at PlayStation and the team at Arc System Works have poured incredible amounts of talent and passion into reimagining the Marvel Universe in a way that only they can,” said Michael Francisco, Senior Product Development Manager, Marvel Games. “MARVEL Tōkon: Fighting Souls demonstrates that they are absolute masters of their craft and are true Marvel fans at heart. Players are in for a wild ride.” Characters Enter the fray with iconic Marvel heroes and villains such as Captain America, Iron Man, Spider-Man, Doctor Doom, Storm, Ms. Marvel, Star-Lord, and Ghost Rider (Robbie Reyes) – each with Arc’s unique twist on their character designs and gameplay styles. Arc Producer, Takeshi Yamanaka, states, “There are so many amazing Marvel characters that it was quite a struggle to choose our roster, but we did have some criteria for the selection process. First and foremost, we wanted to include characters who we feel to be the ‘face’ of Marvel. At the same time, we also needed to select characters that would give us a balance of battle types and styles. Lastly, we wanted to sprinkle in a few surprises and leave room for characters who have never been playable in a fighting game before.” Yamanaka-san continues, “Early on in the project, we experimented with a shader to recreate a more western comic-book visual style, but the Marvel team expressed a desire for us to lean into something more Arc-like. It was then that we switched our approach to the game’s visuals and began to lean more into the Japanimation style Arc is known for.” Gameplay mechanics From short-ranged jabs to the cinematic Ultimate Skills, each character features a bespoke set of Normal, Special, and Unique attacks inspired by their abilities and powers in Marvel lore. Arc have gone to great lengths to ensure that gameplay style, movement, and feel of these legendary characters is fresh, new, and wholly unique to MARVEL Tōkon: Fighting Souls. But it’s not just the individual gameplay of the characters that has been enhanced; significant dedication has gone into reimagining and redefining what it means to be a tag team fighter. “Team VS fighting games have a long tradition of 2v2 or 3v3 team formats, so this is something we discussed in-depth within the development team. We went back and forth many times, from thinking we might be better off making a 1v1 game or sticking to the established 3v3 format.” Sekine-san continues, “At its core, we felt that the appeal of team VS fighting games is the intensity of battles with multiple characters on screen at once. Additionally, one of the appeals of Marvel comics is seeing the vast cast of characters coming together to create all kinds of unique team-ups.” “With these two ideas in mind, we concluded that creating a 4v4 team VS system would be the best way to not only create those over-the-top moments, but to further evolve the tag fighting genre.” Stages The stages come to life in MARVEL Tōkon: Fighting Souls, filled with easter eggs for eagle-eyed fans to find. Most stages also feature multiple areas. These transitions between areas are not just action-packed and stunning to witness, but they also play a strategic role. Check out the screenshots from Marvel’s New York City to see what you can find.  More to come Today’s announcement is just the beginning of our journey. From characters and stages to gameplay modes and the online experience. There’s so much more we can’t wait to share with you!

Joao-Pierre S. Ruth, Senior EditorJune 2, 20255 Min ReadJG Photography via Alamy Stock PhotoProviding services to steel mills and mines around the world can call for real-world, heavy lifting. So when Phoenix Global decided it was time for digital transformation as new leadership took the helm, it needed a fresh plan to embrace the cloud.Jeff Suellentrop, chief information and technology officer for Phoenix Global, says the company works with some 17 steel mill sites in the US and abroad, offering slag remediation and metals recovery. “We operate all the heavy equipment, large loaders, dump trucks and basically all the heavy equipment in the steel mill,” he says. “We help process the byproduct of slags.”Slag is the byproduct of steelmaking, in which impurities are removed from the metal. Suellentrop says his company works with slag to help reclaim precious metals to return to the steelmaking process. The part of the byproduct not returned to steelmaking gets crushed and sold to construction and other industrial agencies. “It’s a very renewable process,” he says.Removing the Weight of Legacy TechServicing steel mills is Phoenix Global’s main business, Suellentrop says, with contracts that can last from five through 20 years. “It’s a fairly unique business, fairly complex compared to traditional order-to-cash type of process.Related:That includes very large asset purchases at the onset with tens of millions of dollars spent on equipment to initiate a contract, he says. “We manage all that equipment, all the personnel, and we also maintenance all that equipment.”This all requires a fairly long selling process, with each site built independently. Phoenix Global had a legacy ERP system in place, Suellentrop says, but the unique needs of the sites led to fragmented data that was not very integrated. “Our goal was to get what we call activity-based management, near real-time activity-based management,” he says.The company wanted to start fresh, jettison all the tech debt, and process debt to have a fully integrated, modernized organization. “We’ve replaced every technology in the company in the last two years,” Suellentrop says.Unfettered by the CloudThe core of that change, he says, was cloud-based SAP ERP software, for all of Phoenix Global’s finance, purchasing, processing tech, supply chain, contract management, plans, and telematics. Phoenix Global tapped Syntax Systems to transition to SAP S/4HANA Cloud.Suellentrop says his company is still deploying SAP at its sites, working toward 100% deployment, which will include mobile assets such as connecting loaders and dump trucks. “You can imagine all the telematics data, hours, fuel consumption,” he says. The system includes connecting some 1,700 associates around the world, integrating data, inventory, and managing maintenance shops through SAP. “We’ve taken out all of the hand offs; it’s all automated," Suellentrop says. “We’ve literally taken days out of the turn-around time and driven up utilization of the equipment, saved millions of dollars on inventory.”Related:Maintenance, for example, has been streamlined to let technicians work directly through SAP to order repair parts that would be available that same day. “It’s a fairly high volume of data when it comes to all the information around the assets, asset maintenance, and then obviously tracking of all the different activities and resources,” he says. “Our goal with activity-based management basically is to see near real-time P&L by site to allow us to make near real-time decisions which help us service our customer better.”In prior years, Phoenix Global saw spot implementations of new solutions for certain needs. After Suellentrop joined the company in March 2023, he was asked to architect the complete digital overhaul and digital transformation for the company. “I’m responsible, from the executive team, for that digital transformation and beginning this activity-based management,” he says. “Digital to me is really delivering it at the speed of business and creating a force multiplier. We literally changed every technology, jettisoned almost all of the legacy processes, and displaced them with best practices.”Related:That allowed Phoenix Global to get rid of unintegrated and poor processes, Suellentrop says, and leapfrog to best practices. “More importantly, it allowed us to standardize the whole data set,” he says, which meant not much data grooming was needed, quickening its use with AI. “We basically took out a whole challenge with deploying AI.”New Leadership, New StrategySuellentrop joined Phoenix Global as it emerged from a reorganization, which he says gave the company the chance to start fresh with a new leadership team that had a goal of driving improvements across the board. That included the adoption of AI and a reimagining of the business model. “The steel industry has not embraced digital quite at the pace of some other industries,” he says.The transformation plan aimed for increased safety, profitability, and efficiency. “We went into this with very distinct outcomes, how we saw this business running in the future, and then we basically align the technology to deliver those outcomes,” Suellentrop says. “I can’t stress the importance of that enough, because we had a very clear vision from the leadership team … it takes immense sponsorship, obviously, to jettison all old processes and go to best practices.”That type of change management, he says, included telling staff that processes they followed day to day, perhaps for as long as 15 years, would change. This included digitizing everything, Suellentrop says, including analog records, even for operators driving trucks. “We got rid of all the paper and pencils,” he says. “We’ve deployed tablets; we automated so they didn’t have to enter some things. We want to minimize the human data entry.”Maintenance technicians now use tablets, he says, which allows them to manage work orders, order parts, and plan their workloads.Phoenix Global plans to finish deploying the new system and operating model in the US this year with international sites to follow in 2026, Suellentrop says. “We’re doing financial planning. We have several new AI value-adders that we’re layering on this year in the plants that are deployed … we can hyper tune our processes and our profitability because we’ve got a much higher level of detail.”About the AuthorJoao-Pierre S. RuthSenior EditorJoao-Pierre S. Ruth covers tech policy, including ethics, privacy, legislation, and risk; fintech; code strategy; and cloud & edge computing for InformationWeek. He has been a journalist for more than 25 years, reporting on business and technology first in New Jersey, then covering the New York tech startup community, and later as a freelancer for such outlets as TheStreet, Investopedia, and Street Fight.See more from Joao-Pierre S. RuthWebinarsMore WebinarsReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like

Image: Nintendo LifeWho had the return of Survival Kids on their bingo cards for 2025? Let alone as a launch title for a brand new Nintendo console? Amidst a storm of third-party ports and first-party giants, Survival Kids quietly sneaked into the Nintendo Switch 2 Direct back in April 2025. And when we saw the Konami logo, something clicked — oh, it's that Survival Kids. The original Game Boy Color game launched way back in 1999 and was just added to the Game Boy app on Nintendo Switch Online. A GBC sequel, the Lost In Blue trilogy on DS, and a Wii game followed, but the series of survival RPGs has been dormant ever since. Until now.Subscribe to Nintendo Life on YouTube815kWatch on YouTube In a partnership with Unity Games — in what is the developer's first-ever game — Konami is flipping the script with this new entry. And, ahead of its Switch 2 release on 5th June, we had a chance to send Richard Jones, Creative Director at Konami Digital Entertainment, some questions about the surprise return of this cult classic series. Available today Nintendo Life: Konami has an extremely deep and rich back catalogue full of games and series that have lain dormant for years. Why did the team choose to bring back Survival Kids? Richard Jones, Creative Director at Konami Digital Entertainment: The reason we wanted to bring Survival Kids back was because the idea of being shipwrecked on an island is such a universally known story throughout the world and throughout generations. It harks back to stories like the Lost Boys from Peter Pan, Swallows and Amazons, or Treasure Island. There's something incredibly evocative about kids having adventures on remote islands. Thematically, the idea of kids on an island having fun and adventures is exactly what video games are about. The opportunity to update this game and play with some of the new Nintendo Switch 2 features was just very exciting. So, it just seemed like a really interesting theme to explore – where we could have fun and turn it into a game for all of the family. A sensation that goes back to everyone’s childhood, like running around the playground pretending to be pirates or whatever. How things change in over 25 years... — Images: Konami That idea of combining childhood adventure with modern co-operative gameplay felt like the perfect way to make something both nostalgic and new. We saw an opportunity to build a game that was more accessible, multiplayer-focused, and designed for families and friends to enjoy together. I think that’s why we liked the theme and thought there was a really good opportunity to update and reinvent it in a new, interesting way for modern audiences. You're working with Unity in what is the company's first fully developed video game. How did that partnership come about? I met with Unity a few years ago at Gamescom. It came to light that they were putting together a team for in-house development. I happened to be looking for external studios to work on a Konami IP, and it seemed like we were on the same sort of trajectory – same ideas around scope, budget, and timescale. So, we carried on talking and started exploring which IPs we’d be interested in working on. We quickly realised we were creatively aligned, and that led naturally into working together. Once we met the team at Unity, we realised what an experienced group of people they’d put together. Everyone throws around words like 'industry veteran,' but these were actual veterans – proper experts in their field with years and years of experience shipping all kinds of games. We knew immediately we were in safe hands – the developers and artists really knew their stuff, and we knew we could work really well with them. Are any of the original developers involved, or has Konami reached out to them about the new project? We love the original Survival Kids games – I remember working on Survival Kids (Stranded Kids, as it was called in the UK) when I first joined Konami. It’s a fantastic game, but we wanted to completely redesign it from the ground up. We had a different vision for what this game should be based on its premise. We wanted it to be more fun, more accessible – something people could play together. From the start, it was always about surviving together. this is very much a respectful reimagining based on the original’s premise - not a direct continuation. It was always going to be a group of kids on an island, working together to solve puzzles in fun ways. Rather than being a really hardcore, punishing RPG like the original, this is a lighter, more inclusive experience. So yeah, this is very much a respectful reimagining based on the original’s premise - not a direct continuation. The original Game Boy game is a single-player survival venture with resource management. How do these aspects translate into multiplayer? We wanted to use the idea of cooking and gathering food as something you could do communally. That was one of the really early ideas – we wanted people to come together around the cooking pot. We explored different iterations — should it be a campfire, should it be something else — and landed on a cooking pot. Everyone can throw bits of food in, and you get this communal pot of soup. Everyone gets something out of it. Rather than linking hunger or exhaustion to failure, we tied stats to improving your character. So, for example, if there's a really tall climbing net, you can’t just climb it straight away – you need to cook and eat food to build up stamina. That way, it encourages cooperation without punishing players. You're cooking to get stronger, not to avoid death. Image: Konami So it keeps that survival theme - but reframes it around teamwork and progression, not punishment. It’s a more approachable, co-op-friendly way to explore the same ideas. It’s all part of the shift from surviving alone to surviving together. What can returning fans expect in terms of new gameplay elements? The game is completely new, so it's a fresh experience. The original had a fairly hardcore, punishing survival design, but this version is less about failure states and more about creating time and space for people to have fun together – whether that’s in split-screen mode, using GameShare in the same room, or online with GameChat. this version is less about failure states and more about creating time and space for people to have fun together The whole point was friends and families gathering, solving puzzles, overcoming obstacles, and having fun. There are still challenges linked to the environment and items - and you can try speedrunning if you want, but at its heart it’s about playing together and enjoying the experience as a group. We want players to come away with a smile on their face at the end of a session. Was it always your goal to be a Switch 2 launch title? Will players be able to use GameShare between Switch 1 and 2? When we started the pitch and early design work, we didn’t even know about Switch 2. But during pre-production, speculation about the new console started to emerge, and it aligned closely with our schedule. We made some educated guesses – assuming the console would have a similar audience, and continue to target ways to play socially. We took a few leaps of faith early on, designing with those assumptions in mind - and they turned out to be close enough. Once we started designing around that, it all made sense – and we reached out to Nintendo to get dev kits and approval. Once they saw what we were doing, I think they realised it was a natural fit. So yes, it now supports new social features like GameChat but also GameShare with compatibility between Switch 1 and Switch 2. (EN: It's since been revealed that you can play Survival Kids via GameShare with up to two additional Switch 1 and/or Switch 2 consoles) Subscribe to Nintendo Life on YouTube815k Are you taking advantage of Switch 2 features like mouse mode or 120fps? We looked into mouse mode, but it didn’t really add anything meaningful to our gameplay. Instead, we focused on features like GameShare and GameChat, which made much more sense for the co-op experience. We also had to be mindful of performance – we’re supporting split screen and GameShare simultaneously, which puts constraints on frame rate. Those trade-offs were intentional - made to ensure a smooth, stable multiplayer experience across all supported modes. With games like Overcooked and Moving Out gaining popularity, how will Survival Kids stand out in a crowded multiplayer launch lineup? Games like Overcooked were definitely in our minds when we started this – the idea of co-op chaos is something we really liked. We approach it slightly differently – using real-time physics, for example. Things like logs rolling away from you or two players struggling to carry a heavy object. It’s deceptively simple, but ends up being chaotic, funny, and memorable - the kind of co-op experience where things go wrong in the best way. What sets Survival Kids apart is its tone - it’s light-hearted, session-based, and designed for friends and family to pick up and play. And it’s one of the few titles launching with full GameShare and GameChat support right out of the box. Image: Konami This interview has been edited lightly for clarity. Thank you to Richard Jones at Konami for taking the time to speak to us! Survival Kids washes onto the Switch 2's shores on the console's launch day, Thursday 5th June. Let us know if you're looking forward to this. Every game coming to Switch 2 on launch day Related Games See Also Share:0 0 Alana has been with Nintendo Life since 2022, and while RPGs are her first love, Nintendo is a close second. She enjoys nothing more than overthinking battle strategies, characters, and stories. She also wishes she was a Sega air pirate. Hold on there, you need to login to post a comment... Related Articles Pokémon Legends: Z-A's Switch 2 And Switch 1 Prices Have Been Revealed And we're pleasantly surprised Nintendo Updates Switch 2 Backwards Compatibility List Doom Eternal, NBA 2K25, and more to get an update Nintendo Appears To Have Updated Mario Kart World's Switch 2 File Size Some other file sizes have also changed Fantasy Life i Gets Switch 2 Release Date With Paid Upgrade Path For Switch 1 Players And it's coming launch day Title: Survival Kids System: Nintendo Switch 2 Also Available For: GBC Publisher: Konami Developer: Unity Games Genre: Adventure Players: 1 Release Date: Nintendo Switch 2 5th Jun 2025 — $49.99 5th Jun 2025 — £44.99 Series: Survival Kids Official Site: nintendo.com Where to buy: Buy on Amazon

Joao-Pierre S. Ruth, Senior EditorJune 2, 20255 Min ReadJG Photography via Alamy Stock PhotoProviding services to steel mills and mines around the world can call for real-world, heavy lifting. So when Phoenix Global decided it was time for digital transformation as new leadership took the helm, it needed a fresh plan to embrace the cloud.Jeff Suellentrop, chief information and technology officer for Phoenix Global, says the company works with some 17 steel mill sites in the US and abroad, offering slag remediation and metals recovery. “We operate all the heavy equipment, large loaders, dump trucks and basically all the heavy equipment in the steel mill,” he says. “We help process the byproduct of slags.”Slag is the byproduct of steelmaking, in which impurities are removed from the metal. Suellentrop says his company works with slag to help reclaim precious metals to return to the steelmaking process. The part of the byproduct not returned to steelmaking gets crushed and sold to construction and other industrial agencies. “It’s a very renewable process,” he says.Removing the Weight of Legacy TechServicing steel mills is Phoenix Global’s main business, Suellentrop says, with contracts that can last from five through 20 years. “It’s a fairly unique business, fairly complex compared to traditional order-to-cash type of process.Related:That includes very large asset purchases at the onset with tens of millions of dollars spent on equipment to initiate a contract, he says. “We manage all that equipment, all the personnel, and we also maintenance all that equipment.”This all requires a fairly long selling process, with each site built independently. Phoenix Global had a legacy ERP system in place, Suellentrop says, but the unique needs of the sites led to fragmented data that was not very integrated. “Our goal was to get what we call activity-based management, near real-time activity-based management,” he says.The company wanted to start fresh, jettison all the tech debt, and process debt to have a fully integrated, modernized organization. “We’ve replaced every technology in the company in the last two years,” Suellentrop says.Unfettered by the CloudThe core of that change, he says, was cloud-based SAP ERP software, for all of Phoenix Global’s finance, purchasing, processing tech, supply chain, contract management, plans, and telematics. Phoenix Global tapped Syntax Systems to transition to SAP S/4HANA Cloud.Suellentrop says his company is still deploying SAP at its sites, working toward 100% deployment, which will include mobile assets such as connecting loaders and dump trucks. “You can imagine all the telematics data, hours, fuel consumption,” he says. The system includes connecting some 1,700 associates around the world, integrating data, inventory, and managing maintenance shops through SAP. “We’ve taken out all of the hand offs; it’s all automated," Suellentrop says. “We’ve literally taken days out of the turn-around time and driven up utilization of the equipment, saved millions of dollars on inventory.”Related:Maintenance, for example, has been streamlined to let technicians work directly through SAP to order repair parts that would be available that same day. “It’s a fairly high volume of data when it comes to all the information around the assets, asset maintenance, and then obviously tracking of all the different activities and resources,” he says. “Our goal with activity-based management basically is to see near real-time P&L by site to allow us to make near real-time decisions which help us service our customer better.”In prior years, Phoenix Global saw spot implementations of new solutions for certain needs. After Suellentrop joined the company in March 2023, he was asked to architect the complete digital overhaul and digital transformation for the company. “I’m responsible, from the executive team, for that digital transformation and beginning this activity-based management,” he says. “Digital to me is really delivering it at the speed of business and creating a force multiplier. We literally changed every technology, jettisoned almost all of the legacy processes, and displaced them with best practices.”Related:That allowed Phoenix Global to get rid of unintegrated and poor processes, Suellentrop says, and leapfrog to best practices. “More importantly, it allowed us to standardize the whole data set,” he says, which meant not much data grooming was needed, quickening its use with AI. “We basically took out a whole challenge with deploying AI.”New Leadership, New StrategySuellentrop joined Phoenix Global as it emerged from a reorganization, which he says gave the company the chance to start fresh with a new leadership team that had a goal of driving improvements across the board. That included the adoption of AI and a reimagining of the business model. “The steel industry has not embraced digital quite at the pace of some other industries,” he says.The transformation plan aimed for increased safety, profitability, and efficiency. “We went into this with very distinct outcomes, how we saw this business running in the future, and then we basically align the technology to deliver those outcomes,” Suellentrop says. “I can’t stress the importance of that enough, because we had a very clear vision from the leadership team … it takes immense sponsorship, obviously, to jettison all old processes and go to best practices.”That type of change management, he says, included telling staff that processes they followed day to day, perhaps for as long as 15 years, would change. This included digitizing everything, Suellentrop says, including analog records, even for operators driving trucks. “We got rid of all the paper and pencils,” he says. “We’ve deployed tablets; we automated so they didn’t have to enter some things. We want to minimize the human data entry.”Maintenance technicians now use tablets, he says, which allows them to manage work orders, order parts, and plan their workloads.Phoenix Global plans to finish deploying the new system and operating model in the US this year with international sites to follow in 2026, Suellentrop says. “We’re doing financial planning. We have several new AI value-adders that we’re layering on this year in the plants that are deployed … we can hyper tune our processes and our profitability because we’ve got a much higher level of detail.”About the AuthorJoao-Pierre S. RuthSenior EditorJoao-Pierre S. Ruth covers tech policy, including ethics, privacy, legislation, and risk; fintech; code strategy; and cloud & edge computing for InformationWeek. He has been a journalist for more than 25 years, reporting on business and technology first in New Jersey, then covering the New York tech startup community, and later as a freelancer for such outlets as TheStreet, Investopedia, and Street Fight.See more from Joao-Pierre S. RuthWebinarsMore WebinarsReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

Brett Ryder / Alamy First popularised by the bestselling New Age book The Secret, manifestation has remained a cultural phenomenon for decades, championed by people from Oprah Winfrey to Deepak Chopra. Advocates claim you can attract whatever you want — whether that’s a romantic partner, a new business opportunity or even a material object — by asking the universe for it and believing that it can deliver. Some practitioners propose physics-defying explanations that evoke mysterious vibrational forces to explain its effectiveness. This article is part of a special series exploring the radical potential of the human imagination. Read more here. This is clearly nonsense, but neuroscientist Sabina Brennan was nevertheless intrigued. What might be the real reason that the practices involved in manifesting can benefit people’s lives? She realised that there were several fascinating, evidence-based explanations for why such interventions can rewire the brain in ways that help you achieve what you desire. In her new book, The Neuroscience of Manifesting, Brennan unpacks some of the mechanisms behind this enduring practice. Helen Thomson: Can you start by telling me what manifestation is?  Sabina Brennan: Manifesting is the practice of transforming thought into reality by visualising your goal and then developing the discipline to stay focused on and take action to achieve that goal. You can’t magically make things happen — you can’t defy physics — but you can change your reality and your future through focused action. Manifestation is easy to disregard as unscientific nonsense – why did you think differently?  There are a few reasons why manifesting is dismissed by some academics. One is the misconception that manifesting is just wishful thinking rather than the…

While updating, upgrading, and reimagining your home can transform it into your dream home, the logistics involved can be daunting, even if you have a general contractor managing the project for you. One of the biggest challenges is setting your budget—unless you have an unlimited budget (lucky you!), determining what a home renovation will involve based on what you can afford is a key aspect of your plan.It’s also one of the most confusing. When budgeting reality bumps up against your dream home fantasy, figuring out what to remove from the project can be difficult because of the emotional aspects involved—everything can seem equally necessary when you’re imagining your future life in the home. In order to pare things down in a coherent and rational way, take a page from business school experts and use the time-tested MoSCoW Method.What is the MoSCoW method?The MoSCoW method was innovated by software developer Dai Clegg in the 1990s as a way to prioritize components of a project in order to stay on schedule and within budget. Although it was initially envisioned as a software development tool (and more widely as a tool for managing business projects in general), it’s malleable enough that it can be ideal for varied circumstances—including getting control of a home renovation project.The method involves breaking all the aspects of your project into four buckets, represented by the letters M, S, C, and W (the Os are just there to make the name more readable). The categories are:Must-haves. These are aspects of the project that are non-negotiable and mandatory.Should-haves. These are parts of the project that aren’t absolutely necessary, but are relatively important.Could-haves. These are smaller details that can easily be removed from the project or added in later if budget allows.Won’t haves. These are aspects of the project that aren’t under consideration at all.The simplicity of the MoSCoW method is its main strength—it’s easy to whip your home reno budget into shape in a short time by plopping everything into the relevant bucket.Using MoSCoW to plan a home renovation projectWhen you’re planning out your home renovation, start dropping each aspect into a bucket as you go:Things that absolutely have to be done are Must Haves. For example, if part of your renovation is replacing a leaking roof, that’s a Must Have—you have no choice, so that cost is baked into your budget from the get-go.Major components of the project that aren’t absolutely necessary fall into the Should Have bucket. If your old hardwood floors are worn but serviceable, replacing them is a big part of what you want to get out of the renovation—but you could leave them in place, or try to refinish them instead of replacing them. These would be the last parts of your project that you remove or downgrade.Grace notes and luxuries go into the Could Have bucket and held there pending how the budget plays out. For example, maybe you’d like your new flooring to have radiant heating. That’s nice, but not an absolute necessity. If money opens up later in the planning, you can toss it in.Finally, there’s the Won’t Have bucket. This might seem like an unnecessary step, since anything not already sorted into a bucket could be considered a Won’t Have. But the exercise of specifically labeling it as a Won’t Have is useful because it brings clarity to your priorities. If you find more budget later, you’ve already prioritized the Could Haves as more deserving of rescue. Won’t Haves aren’t necessarily things you’ll never do—they’re just things you’re not doing now. For example, maybe your HVAC system is a little old and you’re thinking it will need to be replaced in the next few years—but not at this moment, because you’re spending your money on all these other projects. So you put that into the Won’t Have bucket because you know you’ll be returning to it in the future.Once you’ve done an initial categorization of your home renovation, you can start crunching numbers to see if changes are necessary or desired. Maybe you decide, on reflection, that a Should Have is really a Must Have, or vice versa. And if your budget can’t deliver on every priority, you can shift some things into the Could Have bucket and hold them in reserve for the future.Any successful home renovation is as much about planning and prioritization as it is about budget and schedule management, and the MoSCoW Method can help ensure your project is on track before anyone touches a power tool.

There may not be a ton of new releases coming to Disney+ this month, but that doesn’t mean there isn’t plenty to be excited about. The beginning of June sees the return of Phineas and Ferb (June 6) with the first 10 episodes of season 5. This is the first time new episodes have been released since the series ended a decade ago in June 2015, but it’s sure to be an exciting new season for both new and old fans alike as Phineas, Ferb, and their friends once again try to make their summer one to remember. Dr. Doofenshmirtz and his nemesis Perry the Platypus are also set to make their return, so there will definitely be some ‘evil’ hijinks mixed in as well. A professional recording of Frozen: The Hit Broadway Musical is set to hit Disney+ on June 20. This reimagining of the animated movie features twelve new songs and thrilling surprises. Even if you’ve seen the movie a dozen times, you’ve never seen the story quite like this. To finish out the month, Marvel’s Ironheart premieres on June 24 with the first three episodes. Set after Black Panther: Wakanda Forever, this series follows genius inventor and tech prodigy Riri Williams as she returns home to Chicago and becomes caught up with the mysterious and charming Parker Robbins a.k.a. The Hood. Riri may be incredibly gifted, but her skills will be put to the ultimate test when she has to go up against some powerful magic. Here’s everything coming to Disney+ this June. Disney+ New Releases – June 2025 June 4 Pupstruction (S2, 6 episodes)June 6 Phineas and Ferb (Season 5 Premiere – First 10 Episodes)June 8 Ocean with David Attenborough (Premiere)June 17 SALLY (Premiere)June 20 Frozen: The Hit Broadway Musical (Premiere) June 24 Ironheart (Three Episode Premiere at 6pm PT) Join our mailing list Get the best of Den of Geek delivered right to your inbox! Coming in June Underdogs (Season 1)Vibe Check