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06/02 — 2025 by abduzeedo Explore how andstudio created a unified, nature-inspired branding and visual identity for Mana Hotels, blending luxury with authentic connection. Hey fellow creatives! Ever dive into a project that just clicks? Where the core idea shines through every design choice? That’s exactly what happened with Mana Hotels' unified brand identity, a beautiful piece of work by andstudio. It's a masterclass in how thoughtful branding and visual identity can truly elevate an experience. Mana Hotels isn't just another luxury escape. It’s an apartment-style hotel and wellness retreat, redefining relaxation by blending nature with well-being. Think seaside tranquility in Palanga or spa serenity in Druskininkai. The challenge for andstudio was clear: how to create a unified brand identity that resonates across diverse locations and audiences, while still feeling authentic and personalized. The Sun's Embrace: A Core Inspiration The design team at andstudio found their anchor in the rhythm of the sun. This natural cycle, from dawn to twilight, became the central inspiration. It's a smart move. The sun-inspired logo isn't just pretty; it represents vitality, blending luxury with approachability. This focus on a natural, constant element grounds the entire visual language. Color Palettes: Reflecting Local Soul One of the standout elements in this branding and visual identity project is the use of distinct color palettes for each location. For Palanga, the branding reflects the sunlit coast, evoking a bright, airy feel. In contrast, Druskininkai's palette captures the shift from day to night, aligning with the spa's focus on tranquility and restful sleep. You can see this subtle yet impactful differentiation in the visual identity artifacts. It’s a clever way to maintain unity while celebrating local character. Beyond the Logo: A Holistic Experience The branding extends far beyond a simple logo. It’s a comprehensive system that includes motion design, signage, and stationery. Look at the subtle branding on the stationery, like the "Hey Hepy, see you at the pool!" note, or the refined packaging elements. Even the robes feature the Mana logo. This consistent visual language, paired with authentic photography of peaceful moments, highlights a retreat centered on genuine human connection and relaxation. It’s about creating an overall soothing and luxurious experience that nurtures mind, body, and soul. Mana’s approach to branding and visual identity truly emphasizes human connection and a deep understanding of modern-day stresses. They’ve successfully bridged the gap between a service-oriented approach and a family-oriented atmosphere, creating a unique value proposition. This project by andstudio reminds us that great design isn't just about aesthetics; it's about understanding the core essence of a brand and translating that into a cohesive, meaningful visual story. It's about creating a feeling, an experience, and a connection that resonates deeply with the audience. Want to see more of their inspiring work? Check out andstudio's portfolio directly on Behance. Branding and visual identity artifacts Tags branding

Replicube A game by Walaber Entertainment LLCDev snapshot: Godot 4.5 dev 5By: Thaddeus Crews2 June 2025Pre-releaseBrrr… Do you feel that? That’s the cold front of the feature freeze just around the corner. It’s not upon us just yet, but this is likely to be our final development snapshot of the 4.5 release cycle. As we enter the home stretch of new features, bugs are naturally going to follow suit, meaning bug reports and feedback will be especially important for a smooth beta timeframe.Jump to the Downloads section, and give it a spin right now, or continue reading to learn more about improvements in this release. You can also try the Web editor or the Android editor for this release. If you are interested in the latter, please request to join our testing group to get access to pre-release builds.The cover illustration is from Replicube, a programming puzzle game where you write code to recreate voxelized objects. It is developed by Walaber Entertainment LLC (Bluesky, Twitter). You can get the game on Steam.HighlightsIn case you missed them, see the 4.5 dev 1, 4.5 dev 2, 4.5 dev 3, and 4.5 dev 4 release notes for an overview of some key features which were already in those snapshots, and are therefore still available for testing in dev 5.Native visionOS supportNormally, our featured highlights in these development blogs come from long-time contributors. This makes sense of course, as it’s generally those users that have the familiarity necessary for major changes or additions that are commonly used for these highlights. That’s why it might surprise you to hear that visionOS support comes to us from Ricardo Sanchez-Saez, whose pull request GH-105628 is his very first contribution to the engine! It might not surprise you to hear that Ricardo is part of the visionOS engineering team at Apple, which certainly helps get his foot in the door, but that still makes visionOS the first officially-supported platform integration in about a decade.For those unfamiliar, visionOS is Apple’s XR environment. We’re no strangers to XR as a concept (see our recent XR blogpost highlighting the latest Godot XR Game Jam), but XR platforms are as distinct from one another as traditional platforms. visionOS users have expressed a strong interest in integrating with our ever-growing XR community, and now we can make that happen. See you all in the next XR Game Jam!GDScript: Abstract classesWhile the Godot Engine utilizes abstract classes—a class that cannot be directly instantiated—frequently, this was only ever supported internally. Thanks to the efforts of Aaron Franke, this paradigm is now available to GDScript users (GH-67777). Now if a user wants to introduce their own abstract class, they merely need to declare it via the new abstract keyword:abstract class_name MyAbstract extends Node The purpose of an abstract class is to create a baseline for other classes to derive from:class_name ExtendsMyAbstract extends MyAbstract Shader bakerFrom the technical gurus behind implementing ubershaders, Darío Samo and Pedro J. Estébanez bring us another miracle of rendering via GH-102552: shader baker exporting. This is an optional feature that can be enabled at export time to speed up shader compilation massively. This feature works with ubershaders automatically without any work from the user. Using shader baking is strongly recommended when targeting Apple devices or D3D12 since it makes the biggest difference there (over 20× decrease in load times in the TPS demo)!Before:After:However, it comes with tradeoffs:Export time will be much longer.Build size will be much larger since the baked shaders can take up a lot of space.We have removed several MoltenVK bug workarounds from the Forward+ shader, therefore we no longer guarantee support for the Forward+ renderer on Intel Macs. If you are targeting Intel Macs, you should use the Mobile or Compatibility renderers.Baking for Vulkan can be done from any device, but baking for D3D12 needs to be done from a Windows device and baking for Apple .metallib requires a Metal compiler (macOS with Xcode / Command Line Tools installed).Web: WebAssembly SIMD supportAs you might recall, Godot 4.0 initially released under the assumption that multi-threaded web support would become the standard, and only supported that format for web builds. This assumption unfortunately proved to be wishful thinking, and was reverted in 4.3 by allowing for single-threaded builds once more. However, this doesn’t mean that these single-threaded environments are inherently incapable of parallel processing; it just requires alternative implementations. One such implementation, SIMD, is a perfect candidate thanks to its support across all major browsers. To that end, web-wiz Adam Scott has taken to integrating this implementation for our web builds by default (GH-106319).Inline color pickersWhile it’s always been possible to see what kind of variable is assigned to an exported color in the inspector, some users have expressed a keen interest in allowing for this functionality within the script editor itself. This is because it would mean seeing what kind of color is represented by a variable without it needing to be exposed, as well as making it more intuitive at a glance as to what color a name or code corresponds to. Koliur Rahman has blessed us with this quality-of-life goodness, which adds an inline color picker GH-105724. Now no matter where the color is declared, users will be able to immediately and intuitively know what is actually represented in a non-intrusive manner.Rendering goodiesThe renderer got a fair amount of love this snapshot; not from any one PR, but rather a multitude of community members bringing some long-awaited features to light. Raymond DiDonato helped SMAA 1x make its transition from addon to fully-fledged engine feature (GH-102330). Capry brings bent normal maps to further enhance specular occlusion and indirect lighting (GH-89988). Our very own Clay John converted our Compatibility backend to use a fragment shader copy instead of a blit copy, working around common sample rate issues on mobile devices (GH-106267). More technical information on these rendering changes can be found in their associated PRs.SMAA comparison:OffOnBent normal map comparison:BeforeAfterAnd more!There are too many exciting changes to list them all here, but here’s a curated selection:Animation: Add alphabetical sorting to Animation Player (GH-103584).Animation: Add animation filtering to animation editor (GH-103130).Audio: Implement seek operation for Theora video files, improve multi-channel audio resampling (GH-102360).Core: Add --scene command line argument (GH-105302).Core: Overhaul resource duplication (GH-100673).Core: Use Grisu2 algorithm in String::num_scientific to fix serializing (GH-98750).Editor: Add “Quick Load” button to EditorResourcePicker (GH-104490).Editor: Add PROPERTY_HINT_INPUT_NAME for use with @export_custom to allow using input actions (GH-96611).Editor: Add named EditorScripts to the command palette (GH-99318).GUI: Add file sort to FileDialog (GH-105723).I18n: Add translation preview in editor (GH-96921).Import: Add Channel Remap settings to ResourceImporterTexture (GH-99676).Physics: Improve performance with non-monitoring areas when using Jolt Physics (GH-106490).Porting: Android: Add export option for custom theme attributes (GH-106724).Porting: Android: Add support for 16 KB page sizes, update to NDK r28b (GH-106358).Porting: Android: Remove the gradle_build/compress_native_libraries export option (GH-106359).Porting: Web: Use actual PThread pool size for get_default_thread_pool_size() (GH-104458).Porting: Windows/macOS/Linux: Use SSE 4.2 as a baseline when compiling Godot (GH-59595).Rendering: Add new StandardMaterial properties to allow users to control FPS-style objects (hands, weapons, tools close to the camera) (GH-93142).Rendering: FTI - Optimize SceneTree traversal (GH-106244).Changelog109 contributors submitted 252 fixes for this release. See our interactive changelog for the complete list of changes since the previous 4.5-dev4 snapshot.This release is built from commit 64b09905c.DownloadsGodot is downloading...Godot exists thanks to donations from people like you. Help us continue our work:Make a DonationStandard build includes support for GDScript and GDExtension..NET build (marked as mono) includes support for C#, as well as GDScript and GDExtension.While engine maintainers try their best to ensure that each preview snapshot and release candidate is stable, this is by definition a pre-release piece of software. Be sure to make frequent backups, or use a version control system such as Git, to preserve your projects in case of corruption or data loss.Known issuesWindows executables (both the editor and export templates) have been signed with an expired certificate. You may see warnings from Windows Defender’s SmartScreen when running this version, or outright be prevented from running the executables with a double-click (GH-106373). Running Godot from the command line can circumvent this. We will soon have a renewed certificate which will be used for future builds.With every release, we accept that there are going to be various issues, which have already been reported but haven’t been fixed yet. See the GitHub issue tracker for a complete list of known bugs.Bug reportsAs a tester, we encourage you to open bug reports if you experience issues with this release. Please check the existing issues on GitHub first, using the search function with relevant keywords, to ensure that the bug you experience is not already known.In particular, any change that would cause a regression in your projects is very important to report (e.g. if something that worked fine in previous 4.x releases, but no longer works in this snapshot).SupportGodot is a non-profit, open source game engine developed by hundreds of contributors on their free time, as well as a handful of part and full-time developers hired thanks to generous donations from the Godot community. A big thank you to everyone who has contributed their time or their financial support to the project!If you’d like to support the project financially and help us secure our future hires, you can do so using the Godot Development Fund.Donate now

How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in CitiesSave this picture!Boise, United States. Image via Wikipedia user: Fæ. License under CC0 1.0. Image Author: Alden SkeieFrom greenhouse gas emissions and air pollution to deforestation, one of the leading contributors to global warming today is emissions from the transportation sector. Exploring its origins and evolution, as well as the major challenges it faces, the development of electric mobility in urban environments represents a global transition that requires a coordinated mix of policies and actions to achieve cleaner and more sustainable transportation systems. Designing safe and comfortable infrastructure for walking and cycling, promoting public transit and shared mobility, and designing more efficient streets that include electric vehicles, among other actions, are part of a growing worldwide effort to reduce carbon emissions.Although electric vehicles were invented before gasoline and diesel cars in the first half of the 19th century, they have undergone significant technological advances over the past 20 years, reducing their costs and their environmental impact, and increasing their utility. Around 1834, Thomas Davenport developed the first battery-powered electric vehicle, building a small train on a circular track and inventing the first direct current (DC) electric motor. Although there were numerous innovations in the years that followed, battery limitations were a major obstacle. The zinc consumption of a battery was four times more expensive than the coal consumption of a steam engine, so at that time it competed with the electric motor. Save this picture!By 1898, the first commercially available electric vehicles were operating in London and New York. As Francisco Martín Moreno explains in "Vehículos eléctricos. Historia, estado actual y retos futuros", in the early 1900s, several electric car models emerged, primarily accessible to wealthy consumers and designed for short distances. In contrast, the early gasoline-powered cars introduced in the 1920s were noisy, emitted strong gasoline odors, and were hard to drive due to complex gear systems. However, large quantities of oil were discovered between 1920 and 1930, making gasoline-powered cars cheaper in Texas and other US states. Highways began to be built connecting cities, allowing gasoline-powered vehicles to travel from one city to another, something beyond the reach of electric vehicles due to their short range. Mass production techniques like Henry Ford's assembly line further reduced costs, making gas-powered cars affordable to the middle class. Related Article Gas Stations and Electric Cars: How Do They Change Cities Save this picture!By the late 1920s, gasoline vehicles had overtaken electric vehicles, and electric car production largely ceased in the 1930s. However, as a result of the oil crisis in the 1970s and the Gulf War in the 1990s, along with the emergence of climate change as a priority, there was a renewed interest in electric cars. This resurgence led to new models of electric vehicles—from small cars to buses and even trucks. The energy crisis led to an increase in gasoline prices, and society in advanced countries began to become aware of the effects of greenhouse gas emissions from oil combustion, the greenhouse effect, and climate change. Concern about greenhouse gas emissions and climate change increased as oil prices rose, and society began to recognize and become more aware of the impact of the current transportation model on cities and the urgency of finding more environmentally friendly transportation alternatives.Save this picture!Save this picture!In developed countries during the 20th century, the growth of cities was largely due to private car use, allowing citizens to travel miles and miles daily from home to work. Suburban expansion shifted the cost of commuting to individuals. Some residential areas are developing far from the city center and industrial zones, where a large proportion of the population relies on cars. In 2010, the global population was around 7 billion, and it's expected to reach 10 billion by 2050. The number of vehicles, meanwhile, is projected to grow from 75 million in 2010 to 2.5 billion by 2050. Will there be enough fossil fuels to power this massive fleet? What will be the future of gas stations?Save this picture!To meet the goals of the Paris Climate Agreement and reduce growing air pollution, low- and middle-income countries should join the global transition to zero-emission electric transport. According to data from the International Energy Agency and the European Alternative Fuels Observatory, China led the world in 2024 with over 7 million electric vehicles (including cars and buses) in operation—an increase of over 3 million in just one year. The U.S. ranked second, followed by Germany, which leads in Europe with about 1.3 million EVs. The UK and France round out the top five.Save this picture!To support this transition, the United Nations Environment Programme (UNEP) has launched a global initiative alongside private sector partners, academic institutions, and financial organizations, helping low- and middle-income countries shift to electric mobility. In Latin America, transportation accounts for around one-third of CO₂ emissions. In Africa, Asia, and parts of Latin America, motorcycles and three-wheelers are essential for daily mobility, often covering over 100 km per day. However, these vehicles usually rely on outdated technologies, making them highly polluting and inefficient. Electrifying two- and three-wheelers presents a significant opportunity to reduce both greenhouse gas emissions and air pollution. UNEP is assisting 17 countries in creating national strategies and running pilot projects to introduce these electric vehicles in regions like Africa, Southeast Asia, and Latin America.Save this picture!Given the rapid urbanization in many low- and middle-income countries, mass public transport remains a cornerstone of urban mobility. Cities across Africa, Asia, and Latin America are investing in better transportation systems, including high-capacity bus corridors and Bus Rapid Transit (BRT) systems. Yet, with the average bus lifespan exceeding 12 years, it's essential to avoid locking cities into outdated technologies. Developing policies to support and incentivize the adoption of zero-emission vehicles is essential to achieving the electrification of public transport. The European Commission proposes promoting investment initiatives in charging infrastructure and emissions trading, to be implemented starting in 2026, by putting a carbon price on fossil-fuel vehicles. This measure seeks to boost the use of electric vehicles and the transformation of transport systems. Now, how could charging infrastructure be developed to support a potential massive growth in the electric vehicle fleet? What upgrades and innovations are needed to handle this future demand? What would happen if all transportation suddenly depended on the power grid?Save this picture!Save this picture!The UN emphasizes that using public transportation is critical to curbing climate change. Electrifying buses and trains could cut greenhouse gas emissions by up to two-thirds per passenger per kilometer compared to private vehicles. Still, private cars hold the greatest potential for emission reduction. In 2018, light-duty vehicles were responsible for nearly half of all transport emissions—including those from rail, sea, and air travel. Several major carmakers have announced ambitious plans to release new EV models in the next five years.Save this picture!According to a study by the McKinsey Center for Future Mobility (2019), roughly 60% of global car trips are under 8 kilometers, making them ideal for micromobility solutions. Electromicromobility refers to small, lightweight, and low-speed electric transportation options for short distances, such as electric skateboards, scooters, bikes, mopeds, and quadricycles. From a user perspective, electric vehicles still face hurdles like high costs, limited range, and long charging times. However, their broader societal benefits—particularly emissions reductions—are significant. Therefore, local and national governments are encouraged to implement supportive policies, such as vehicle purchase subsidies, tax breaks, free charging stations, parking benefits, access to city centers, and special electricity rates for nighttime charging, etc.Save this picture!Save this picture!Ultimately, we should ask: What lies ahead for modern transportation? How could new forms of natural, artificial, and collective intelligence be integrated into the design of today's transportation systems to improve resilience to environmental and growth challenges? What partnerships between countries, industries, and organizations are needed to ensure a sustainable and innovative supply of key materials? What will happen to used EV batteries and electronic components? Will be electric mobility in cities the only way to reduce carbon emissions?This article is part of the ArchDaily Topics: What Is Future Intelligence?, proudly presented by Gendo, an AI co-pilot for Architects. Our mission at Gendo is to help architects produce concept images 100X faster by focusing on the core of the design process. We have built a cutting edge AI tool in collaboration with architects from some of the most renowned firms such as Zaha Hadid, KPF and David Chipperfield.Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Agustina Iñiguez. "How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in Cities" 03 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030500/how-will-transportation-work-in-the-future-a-look-at-the-rise-of-electric-mobility-in-cities&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Attendees at a screening for ReelShort's "Wings Of Fire." Tiffany Rose/Getty Images for ReelShort 2025-06-03T08:42:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Mini-drama apps have grabbed Hollywood's attention as they've gained popularity in the US. The apps offer bite-sized, mobile-friendly episodes that people are paying to watch. They could be a low-cost alternative to traditional shows for Hollywood giants. Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice.These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox.Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space."I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. "Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach."Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm."In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued.As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap.Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars.App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Still from "Breaking the Ice" on ReelShort. ReelShort Hollywood is curious about mini-dramasAgents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy.Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said.Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort.Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain.People have questionsDespite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent.And people in Hollywood told BI they had plenty of questions.Here are a few:These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members?Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers.Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week.How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform.Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model.'It's just a matter of time' Paramount's "Mean Girls" experiment on TikTok bore some resemblance to mini-dramas. Paramount Pictures Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential.They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows."There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players.Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV."It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."Geoff Weiss contributed reporting.

Facing huge fines, Apple on Monday began a legal challenge to the European Commission’s “unreasonable” demand that it open up its platforms to rivals, arguing any such move threatens the foundations of its platforms with a cost

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... 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