Apple has officially rolled out iOS 26.5.2, a significant update designed to address over 25 security vulnerabilities affecting iPhones, iPads, and Macs. This release is part of a broader initiative that includes updates to iPadOS and macOS, emphasizing enhanced security and performance across the Apple ecosystem. Alongside this update, Apple has also introduced iOS 26.6 […]
The post Why You Must Download Apple’s New iOS 26.5.2 Immediately appeared first on Geeky Gadgets.
Chess has had a genuine cultural resurgence lately, finding its way into cafés, offices, and living rooms that wouldn’t have bothered with it a decade ago. But for all the renewed enthusiasm, the portable chess set hasn’t really evolved. Most options are flimsy plastic affairs that feel like an afterthought, with the same old problem of pieces scattering the moment you set the bag down.
BESIDAR’s Victory approaches the problem differently, treating the portable chessboard as an engineering challenge rather than a sizing exercise. It’s built entirely from titanium, uses a mechanical folding structure that collapses the board into something genuinely pocketable, and relies on magnets to keep all 64 pieces organized and secure. It also happens to support several other games on the same set of pieces, which we’ll get to.
Designer: BESIDAR
Click Here to Buy Now: $69 $130 (50% off). Hurry, 128/1000 left! Raised over $111,000.
The defining feature is the board itself. Victory’s playing surface consists of multiple hinged titanium panels that interlock mechanically, letting you fold and unfold them endlessly without resistance or wear. It sounds like a gimmick until you have it in your hands, because the action is satisfying in the way a good infinity cube is. You’ll end up folding it between moves or absentmindedly during a thinking pause.
All 64 pieces attach magnetically to the board’s surface, staying in place during play and holding firm when the board is folded for transport. The two board halves also connect to each other magnetically, so the whole set becomes one compact, integrated unit. There’s nothing loose rattling around, no separate case to hunt for, and no tedious piece-sorting ritual before you can sit down and actually start playing.
The two-sided pieces also give the set a wider range of use than expected. One face carries a surface pattern while the other is a solid contrasting color, and that choice alone supports chess, Go, Gomoku, international checkers, and Othello. That’s five strategy games from one set of 64 pieces, with the folding board itself counting as a sixth mode when you just want something satisfying to fidget with.
What makes Victory feel genuinely premium is the material. Both board and pieces are CNC-machined from titanium, giving the set a density and tactile precision that plastic travel versions can’t replicate. It’s cool to the touch, holds its finish, and doesn’t feel like something you’d toss carelessly into a bag. Left on a desk between games, it reads less like a board game and more like a well-made EDC object.
At 5.24 inches (133.20 mm) across and just 7 mm thick when folded, Victory fits in a pocket without creative gymnastics. The two-board structure means each player’s pieces are already arranged on their own half, so you unfold, connect the two sections, and you’re ready in seconds. Whether it’s a café table, a park bench, or a few spare minutes between meetings, there’s no setup ritual to slow things down.
What you end up with is a chess set that’s genuinely interesting to own, even if you’re not a serious player. The mechanical folding keeps your hands busy, the titanium build makes it worth displaying, and the magnets mean you can bag it and go without a second thought. It won’t replace the full-sized board on your shelf, but for everything else, it’s the set that actually comes with you.
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The post The Titanium Chess Set That’s Also the Best EDC Object We’ve Seen first appeared on Yanko Design.
Render based on schematic
Samsung’s product roadmap for this year lists the TriFold and the Galaxy S26, with no rollable phone anywhere on it. A patent the company filed in May (uncovered by WearView) tells a different story about where its engineers are looking. The filing describes a Galaxy that slides open sideways, expanding from an S26-sized slab into a Fold-class canvas without a hinge or a crease. Its sharpest idea sits on the back, where the rear camera module rides the moving half of the chassis and travels outward as the screen grows, then slots into a frame cutout when the phone retracts. That keeps the body thin, solving the bulk that usually plagues rollable hardware.
The gap between that patent and a shipping phone runs through Samsung’s own walls. Samsung Display keeps demoing slidable and rollable panels at CES and MWC, while Samsung’s phone division quietly ships foldables and leaves the concepts on the show floor. The patent matters because it hints at the two tracks finally converging. It also lands at a pointed moment, with Apple about to release its first folding iPhone this September after a decade of chasing the perfect crease. Samsung appears to be drawing up the shape that makes that crease irrelevant.
Designers: xLeaks7 & WearView
AI Render based on schematic
Mounting the camera on the sliding section answers a packaging problem that has no clean solution otherwise. Rollables grow by pulling a flexible screen out of the chassis, which leaves the camera array nowhere comfortable to sit. Park it on the stationary side and the phone thickens, ride it on the moving side and it stays slim across both states. Samsung pairs the moving module with sensors that track how the housing shifts, keeping the lenses aligned and AR tracking accurate as the geometry changes mid-use. The compact form reads like a Galaxy S26, the expanded version approaches Z Fold 7 width, and the camera quietly travels the whole distance.
Rollables promise to erase the two things people complain about most on foldables, the crease down the middle and the doubled thickness when shut. They pay for that promise with motors, geared rails, and moving internal trays, a fresh set of failure points that hinges avoid. LG built a working rollable, showed it at CES 2021, then shelved it when it abandoned phones, and a teardown that went viral this spring exposed dual motors and spring-loaded arms looping a screen around the back. Oppo, Motorola, and Tecno each ran the same play and shipped nothing, the ghost hanging over Samsung’s filing. We flagged TCL’s Fold ‘n’ Roll as one of the rollable concepts still worth chasing earlier this year, so the appetite clearly exists even when the hardware refuses to leave the booth.
Samsung Display has been rehearsing this in public for years, which separates the patent from pure fantasy. The division showed the Slidable Flex Duet at CES 2025, a panel stretching from 8.1 inches to 12.4, and brought a vertical Mobile Slidable to MWC 2026 that grew from 5.1 inches to 6.7. One of those rollable panels already ships inside Lenovo’s ThinkBook Plus, proving the mechanism survives a real product when the price target allows. The patent’s specifics stay slippery, with the filing describing a modest side-slide while WearView’s renders imagine a far wider Fold-class spread. Apple, for its part, sources the inner display of its incoming foldable from Samsung, so Cupertino’s first fold literally runs on the glass of the rival now sketching past the fold.
What turns this from a filing into a product would show up in the signals, and none of them have flipped yet. Samsung’s phone division still sells hinges, the TriFold remains the stated frontier, and rollables live on a research track that hasn’t crossed onto the roadmap. The day patents start specifying durability ratings instead of clever geometry, and the day Samsung MX teases a rollable instead of Samsung Display demoing one, the math will have changed. For now this is a sketch, an elegant one, of where the company thinks the phone goes once everyone finishes copying the fold. I want Samsung to build it, if only because a camera that moves with the screen is the rare hardware flourish that earns its own complexity.
The post Samsung’s Rolling Display Phone begins taking shape just as Apple preps the iPhone Fold first appeared on Yanko Design.
Some can openers live at the back of a kitchen drawer, pulled out once a year and quickly forgotten. The DraftPro Top Can Opener belongs somewhere else entirely. Designed by award-winning Japanese designer Shu Kanno and built in Japan, it removes the entire top of a can in a single smooth motion, turning any beer, sparkling water, or canned cocktail into something that drinks far closer to a glass.
What makes it worth talking about is not the novelty of a fully open can. It is how that one change compounds everything. Aroma lifts. Flavor opens. Ice slides in cleanly. A cocktail comes together directly in the can without a shaker or a glass to clean. This is not a gadget built for effect. It is a considered object, designed with the discipline Japanese craft demands, and built to earn its place.
The drinking experience changes the moment the top comes off. A full wide-mouth opening releases aroma the way a pint glass does, without the pour. The edge left behind is clean and smooth, safe to drink from directly, which means you are not trading the convenience of a can for a sharp, dangerous lip. The opening motion reflects the Japanese design philosophy behind the product: smooth, quiet, and completely controlled. No grinding, no force, no jagged result.
That precision is not accidental. Shu Kanno designed the grip for subtle comfort, shaped to sit naturally in the hand without slipping or requiring an awkward angle. The mechanism produces the same clean result every time, domestic or international, standard size or otherwise. Nothing about the design announces itself or overclaims. It simply does exactly what it should, at the moment you need it to, without asking anything more from the person holding it.
The full open top is the headline feature, but the practical range goes further than it first appears. Drop ice directly into the open can, and it chills faster than waiting on the fridge. Build a cocktail right in the can, no shaker, no glass, no surface to clean. That same clean cut turns an empty can into a planter, a pen holder, or something ready to rinse and recycle without any extra effort.
Universal fit means it works with domestic and international cans without adjustment, which matters when you are traveling or reaching for something unfamiliar at the back of a cooler. The lightweight build disappears into a bag without adding bulk, making it as practical on a hiking trail or cabin trip as it is at home. Shu Kanno designed it to go where the drink goes. It does exactly that.
DraftPro does not fix a problem most people knew they had. It reveals one. Once you taste a beer with the top fully removed, aroma open and flavor fully present, the sealed can version feels like a compromise you were accepting without realizing it. That is the quiet power of intentional design. It does not announce itself. It just makes every drink noticeably and permanently better.
For the design-minded, it is a precision tool from a serious designer, built in Japan, with the restraint and finish that craft demands. For everyone else, it is a small, permanent upgrade to one of the most ordinary moments in the day. Either way, it earns its place, and once it does, you will not want to open a can any other way.
The post This Japanese Can Opener Removes the Entire Top and Makes Your Beer Taste Like Draft first appeared on Yanko Design.
Walk into Fuwa Fuwa Golden Square and your stomach reacts before your brain does. The ceiling curves overhead in a deep, glossy yellow that fades downward into cream, and the effect is unmistakably appetizing. You have seen this color before, in a warm pan, sliding off the edge of something soft. The room does not represent butter so much as it behaves like it. The longer you stand there, the more your appetite gets ahead of your eyes.
That is the trick Studio Yimu pulled off in this cafe. The yellow sits richest at the crown of the curve, then thins as it falls, mimicking the way melted fat rides above the milk solids that settle below. The pale lower walls finish the thought. It is abstraction with an appetite, a minimalist gesture that happens to make you very, very hungry the longer you stand inside it. The shop sells Japanese soufflé pancakes, and the architecture has already started selling them for you.
Designer: Studio Yimu
Melt a pat of butter and it separates within seconds, the golden fat lifting while the white milk solids sink to the bottom of the pan. Studio Yimu translated that split into a ceiling, saturating the crown of a sweeping curve in deep yellow before dissolving it into pale cream along the lower walls. The vertical order matters more than it first appears. Flip it, run white overhead fading down to yellow, and the whole room would feel subtly upside down, like butter defying gravity. Every corner rounds over with a soft fillet rather than meeting at a hard edge, so the color reads as poured rather than painted, pooling into the low points the way a liquid actually would.
The pancakes on the menu carry the same two tones, golden brown where the batter kisses the pan and pale along the tall fluffy rim that steams itself before it ever sears. Fuwa Fuwa’s logo splits the difference, a stack of soufflé pancakes with a pat of butter sliding down the seam in matching gold and cream. Studio Yimu took that little mark and scaled it up until it became the architecture you stand inside. The same story now plays at three sizes, the butter in the pan, the pancake on the plate, and the room itself. One ingredient, understood deeply enough to repeat across every scale without announcing itself, anchors the entire identity.
Beneath the color, the plan does real work splitting the cafe into two moods. One side runs wall-mounted tables and stools facing the service counter, built for a quick stop and a clear view of the pancake theatre behind the glass. The other side tucks long banquette seating into a wood-lined alcove, warmer and enclosed, sized for people who want to linger over a plate and a coffee. Studio Yimu concealed every light source behind signage, above the counter, and along the wall bases, so the glow spreads evenly and the architecture never competes with a visible fixture. Concrete floors and oak millwork ground all that sweetness, keeping the butter metaphor from tipping into a theme-park cartoon of itself.
Temple is the word the project keeps getting tagged with, borrowed from the shrine-like volume framing the central counter, and it undersells what makes the space land. Reverence does not sell breakfast. Appetite does, and Studio Yimu engineered appetite straight into the walls with two colors and a single curve. The restraint is the achievement, a piece of retail design confident enough to abstract one ingredient into a full spatial language and trust diners to feel it before they can name it. I walked away convinced more brands should study their own logo this closely, because Fuwa Fuwa found an entire building hiding inside a drawing of a pancake.
The post This Japanese-Style Pancake Shop Turns Melted Butter Into an Entire Design Language first appeared on Yanko Design.
We’ve seen countless G-Shock versions in our time, and they still keep coming. The latest in Casio’s line-up of its most famous series is the Pokémon edition watch. Celebrating the gaming franchise’s three decades, the timepiece has the G-Shock GA-110 as the base unit. On top are the classic Pokémon colors in Red, Green and Blue.
The watch is going to hit the right notes with Pokémon fans who’ve, over the years, obsessed over the augmented reality game and the themed merchandise resulting from the Japanese title’s influence worldwide. This is the first full-scale G-Shock in collaboration with the game franchise, as previous collaborations only resulted in the Baby-G versions. In Japan, it is only available via a purchase lottery, while in the UK, at least, you can buy the thing for $220 if you’ve had a history of bad luck.
Designer: Casio
Interestingly, the watch band carries all 30 Pokémon – one each of the glorious 30 years. There are the original Kanto starters – Charmander, Squirtle, and Bulbasaur, while the Paldea region (Sprigatito, Fuecoco, and Quaxly) graces the timepiece. Of course, Pikachu and Eevee are also present. The 30th anniversary theme continues on the catchy Poké Ball-shaped box engraved with the 30 Pokémon and the caseback embellished with their names. The exterior packaging gets the Pokémon treatment, too, in all the Pokémon motifs, which in itself is a collectible for dedicated fans. Whoah… seems I’m 30 again!
Intricate details on the watch face take the shape of the Poké Ball-inspired inset dial at the 9 o’clock position, and the Pikachu-shaped indicator hand from the 1996 release balances things out perfectly. The band loop gets the Mythical Pokémon while the 200-meter water-resistant watch gets the customary shock and magnetic resistance features. Underneath all the Pokémon goodness lies the trusted G-Shock movement, 29 time zone display (gosh that should have been 30), 1/1000th second stopwatch, an automatic calendar going right up to the year 2099, and LED lighting.
The Pokémon x G-SHOCK GA-110PKM-7A is scheduled to arrive in July, with regional availability varying by market. In Japan, the watch will be sold through a purchase lottery via Casio’s online store, while other regions, including the UK and US, will offer limited retail availability through G-SHOCK stores, the official Casio website, and select authorized retailers. The watch carries a price tag of approximately $220 in the UK, $270 in the US, and ¥33,000 (around $225) in Japan, making it a premium collectible rather than an impulse buy. Given that this marks the first full-fledged G-SHOCK collaboration with Pokémon and celebrates one of gaming’s most beloved franchises, don’t expect it to stay on shelves for long.
The post Casio’s Pokémon G-SHOCK packs three decades of pocket monsters into one collectible timepiece first appeared on Yanko Design.
