The list of challenges facing the field of college mental health continues to grow. It's important to understand these challenges before trying to overcome them.

Fatal Fury: City of the Wolves MSRP $60.00 Score Details “Fatal Fury: City of the Wolves is a slick fighting game with an uncomfortable catch.” Pros A (largely) excellent cast Looks and sound wonderful Excellent netcode A wide variety of modes Cons Questionable guest characters Lobby problems Poor user interface Table of Contents Table of Contents Uninvited guests The play’s the thing Can’t have it all Always a catch Very few fighting game series get a second act. Most fade. For a series to get there twenty-six years after its first big moment, after the company behind that series has been through bankruptcy and acquired — twice — is nothing short of miraculous. But no miracle is free; like all powerful magics, they extract a price. Recommended Videos In the case of Fatal Fury: City of the Wolves, that price is the end of SNK’s alleged independence under the MiSK Foundation, and a stain on what should be (and otherwise is) Fatal Fury’s triumphant return to prime time after more than two decades away. Every time I play City of the Wolves, all I can think is: It did not have to be this way. But then I remember that we exist under capitalism, where art matters less than money and appeasing the people who have it, and I realize that this is the only way a modern Fatal Fury game could have been made. There’s always a catch. Related Fatal Fury: City of the Wolves is the so-long-awaited-we-basically-gave-up-hope-of-ever-getting-it sequel to the legendary Garou: Mark of the Wolves. Garou was something of an experiment akin to Street Fighter III, taking place 10 years after Real Bout Fatal Fury (but crucially not Real Bout Fatal Fury 2: The Newcomers). Only series poster boy Terry Bogard made the transition; the rest of the cast was new. City of the Wolves splits the difference, offering up classic characters like Billy Kane and Mai Shiranui, returning favorites from Garou like B. Jenet, Rock Howard, and Tizoc, and fresh faces like rushdown monster Vox Reaper and Preecha, apprentice to Joe Higashi. It’s a good roster: you’ve got your shotos-but-not-really in Terry and Rock, grappler in Tizoc, war crimes characters like B. Jenet, mix-up enjoyers like Hokotumaru, and so on. Every archetype is represented here, and every character feels unique. The problem lies in the guest characters. Normally, I wouldn’t spill ink over cameos save to say that “X character is in the game, and that’s cool.” Ken Masters throwing Terry Bogard his hat in Capcom vs. SNK 2? Iconic. Perfect. A show of respect and an acknowledgement of the rivalry between two of the genre’s oldest all-time greats. That’s not what’s here. Instead, our guest characters are soccer star Cristiano Ronaldo and Salvatore Ganacci, a DJ you’ve likely never heard of. Why are Ronaldo and Ganacci here? The likely answer is that they’re both close with Saudi Arabian crown prince Mohammed bin Salman, who chairs Saudi Arabia’s Public Investment Fund, which bought a controlling interest in SNK in 2021. Ganacci is quite close to the Saudi royal family and has performed at various events in Saudi Arabia. In fact, he’s got a concert in Saudi Arabia the day City of the Wolves comes out, and he performed at Wrestlemania this past weekend as part of a tie-in promotion for the game. Ganacci’s appearance is annoying, but his character is largely a joke (he looks at the camera knowingly when he executes a crouching jab and his DP is essentially the man T-posing into space; he’s also likely the game’s worst character) and he did contribute to City of the Wolves’ music. Ronaldo is a different story. In addition to being charged with tax evasion (and taking a deal where he paid a large fine to avoid jail time), Ronaldo was accused of raping a woman in 2009. He would later admit to it in a leaked legal questionnaire, saying “She said no and stop several times” and that he apologized to her afterwards. At the time, Ronaldo’s defense attorney claimed that the documents were altered, but did not offer evidence to support the claim. Ronaldo currently plays for Al-Nassr, a Saudi Arabian team that has made him one of the highest-paid athletes in the world and is also owned by the Public Investment Fund. He’s incredibly strong in City of the Wolves, but also barely in the game. He does not have his own arcade story, nor is he in Episodes of South Town, the de facto campaign. And unlike every other character, you cannot edit his colors. He doesn’t even provide his own voice. In 2022, SNK claimed that being owned by Saudi Arabia had no effect on its creative output and that the company had complete creative freedom. I’m not sure I believe that’s the case anymore. Do you? What’s infuriating about this is that SNK has made a great fighting game with City of the Wolves. It looks and sounds wonderful, it’s satisfying to land combos, and the systems are unlike any other fighter. What defines City of the Wolves is the Rev system; essentially, any Rev Art (think a souped-up version of a base special move) may be canceled into any other Rev Art move to perform unique combos and blockstrings. The downside is that doing so builds heat. Rev up too high, and you’ll overheat, losing access to the Rev system until you cool down. You won’t just lose access to Rev Arts, either. You’ll also lose Rev Guard, which keeps you from taking chip damage, allows you to block in the air, and pushes your opponents back when you’re on defense, giving you more opportunities to escape. Plus, you open yourself up to the risk of getting guard crushed. You’ve also got feints, which are exactly what they sound like. They pull double duty as a fake out that allows you to bait your opponent into reacting to an animation and to cancel certain normals into a feint for a faster recovery, opening up combo routes you wouldn’t be able to access otherwise. Then there are brakes, which allow you to halt certain special moves in their tracks. Brake a DP after the first hit knocks your opponent into the air, for instance, and you can use it as a launcher that opens up new combo routes on hit and new pressure options if they block. It’s a great system that rewards knowledge, execution, and creative play. Fighting games are at their best when they ask you to think, and City of the Wolves has a lot on its mind. Finally, there’s the SPG, or Selective Potential Gear. Before each match, you select when you want your SPG gauge to activate: the beginning, middle, or end of your health bar. Once it reaches that point, you gain access to Rev Blows, incredibly powerful, safe on block, armored attacks that will blow through most anything including Hidden Gears, each character’s most powerful Super that is only available during SPG. The SPG part of your health bar is small. A single good combo will knock you out of it. Now, you can extend that by Just Defending (blocking right before a move hits you), which restores health, but staying in SPG can be tough, and maximizing what happens you get out of it when you are can be the difference between a come-from-behind classic and a heartbreaking loss. Choosing when you want it — a weaker version to build an early lead, or a stronger version you have to wait for — can make all the difference if you can capitalize at the right time. Combine all of this with a stellar cast, guest characters aside, and City of the Wolves does the most important thing a fighting game can do: It ask you to make complex decisions on both offense and defense. How much heat are you willing to build in a combo? Do you cash out with a stronger super to confirm the round or choose a weaker move and carry some meter over to the next and risk losing on the next interaction? Do you send that Rev Blow on wakeup knowing it’s throwable? Risk it all on a DP or a super? How are you going to play neutral? Fighting games are at their best when they ask you to think, and City of the Wolves has a lot on its mind. SNK There’s one gameplay decision I’m of two minds about: Smart Style, which simplifies City of the Wolves’ buttons into Punch, Kick, Smart Combo, and Special move. In theory, this is great because everyone should be able to play fighting games. In practice, it’s extremely frustrating to fight against when you’re getting hit by a combo someone is doing by pressing a single button that takes half of your life bar. That doesn’t feel fair and it doesn’t solve the fighting game accessibility problem either. Sure, you’ve removed the barrier of entry for something like a DP, but you’ve essentially just taken the first rung off the ladder. The hard part of fighting games isn’t motion inputs and combos. That’s just muscle memory. You can sit in training mode and grind that out. The hard stuff is learning to play neutral, decision-making, understanding risk/reward, and matchup knowledge, and there’s no button that will do that for you. Execution can and should matter. Choosing what combo when, drops, mistakes, the clutch moments, hell, even being able to do a DP when the chips are down … that’s the stuff that separates good fighting game players from great ones. The DP motion is the way that it is so you can’t block and do it at the same time. You have to open yourself up to perform the move. My hope for something like Smart Style is that it will help new players along and incentivize them to learn the game properly, but the more I see options like this, the more concerned I become that the genre is sacrificing a piece of its soul for quick gains in the stuff that’s easiest to master the and least likely to determine long-term success. People don’t stick with fighting games because they can do combos; they stick with them because they learn to appreciate everything else and come to love the fight, win or lose. It all plays well, but I could have told you that just by looking at the menus. There’s an old joke that no fighting game is allowed to play well, have great netcode, look good, and have decent lobbies and menus. Something has to be sacrificed. The monkey’s paw always curls. Fatal Fury: City of the Wolves’ menus look like they were made in Microsoft Paint, so I knew it would be a banger from the moment I first launched it. On the positive side, City of the Wolves has all the things a fighting game needs: full cross-play, a tutorial that will walk you through the basics in great detail, a mission mode that is essentially a series of combo trails for each character, Survival and Time Attack modes, Standard versus, and more. Arcade mode is where the story stuff happens, told through a series of animated, comic book style stills between fights. What’s here isn’t deep, but I did enjoy seeing what feels like the end of Terry and Rock’s saga, which hit me a little harder than I expected it to, and catching up with the rest of the Fatal Fury gang. SNK Most solo players will spend their time in Episodes of South Town, a story mode where they choose a character, select fights on a map, and level up and equip earnable skills. It’s a very basic RPG and fairly barebones (there isn’t much voice acting, and you don’t really choose what happens when you level up), but I enjoyed how little it wasted my time. I saw the fight on the map I wanted, beat up whoever was there, and moved on to the next thing. It reminded me of fighting game stories from back in the day; I didn’t have to do everything, though there are some fun optional fights with specific rules like “you will either do no damage when you hit this person or all of their health bar.” When I found an optional objective, I felt like it was worth doing the extra fights, but I also didn’t feel like I had to grind much. Episodes from South Town is fun and breezy. It’s a good way to practice with your chosen character that respects your time, even if the presentation isn’t going to light anyone’s hair on fire. For sickos, the real fights will be waged online. This is, unfortunately, where City of the Wolves stumbles. It’s not in the netcode, mind you. City of the Wolves’ rollback is excellent, and I’ve played games with friends overseas that felt like the two of us were sharing an arcade cabinet. It’s everything around that. Getting into lobbies is a chore; you can’t just select someone from your Steam friends list and invite them. Instead, you have to either be friends with someone in-game or send them a room code generated by the game which … may work or may not. Oh, and you’d better make sure you’re on the same servers. Even the room layout is odd. You select options with a mouse cursor tied to your control scheme of choice. It can be difficult to tell when someone is queued to spectate or play, and the whole layout is generally just ugly. City of the Wolves clearly doesn’t have the budget of Tekken 8 or Street Fighter 6, but there’s no excuse for not being able to invite or join my friends without going through all of this nonsense in the year of our Lord 2025 when Halo 2 solved this problem in 2004. I’m going to be honest: I’ve struggled with this review more than any other I’ve ever written. I’ve struggled with how to balance my belief that, when the characters are on-screen and beating the hell out of each other, Fatal Fury is one of the best fighters on the market. I can live with the questionable lobbies and presentation issues. There’s always a catch, right? The other existential problems are harder to grapple with. I can’t imagine that the developers at SNK wanted to include either of these guest characters, that this is what they wanted to spend their time and money on. I can’t imagine that Ronaldo is this strong by accident. I can’t imagine that they were revealed last, long after so much goodwill was built up around this game, right before its release, because that’s what SNK believed would be best. And I can’t escape them. I can’t turn them off. I will see Ronaldo online because he’s one of the most popular athletes in the world and very strong in the game. Even when I finished Terry’s arcade mode, where I was oddly touched by the story I’d just witnessed, there he was doing soccer things in the credits. It’s like whiplash. One moment I’m playing with friends and having a great time. We’re all so happy Fatal Fury is back. It feels so good to play. The next, I’m staring at a credibly accused rapist on the character select screen who seems to only be there because he plays for a Saudi Arabian soccer team. Maybe I’m wrong, but I fear that I’m not. Everyone has a price, especially for the things they hope never to sell. What’s yours? Can you love something and be viscerally disgusted by it at the same time? Doesn’t something have to break? City of the Wolves would likely not exist without the Public Investment Fund. SNK probably wouldn’t either, and I can’t blame anyone who developed this game for using this opportunity to make something they loved. But people like Ronaldo get thrown out of the fighting game community. Guys like Infiltration, a multiple-time EVO champion who was convicted of beating his wife, and TempestNYC, another EVO champion who couldn’t keep his hands to himself. The list goes on. This community is deeply queer, largely made up of people of color, and extremely protective of its grassroots origins and the people in it. Corporate, moneyed influence is something it — no, we — have always fought against because this community is ours. We built it. It’s not for sale. Every year, some of the greatest fighting game players in the world turn down the chance to compete at the Esports World Cup for life-changing money because it is funded by the Public Investment Fund and they do not feel safe, as queer people, in Saudi Arabia. I’m sure City of the Wolves will headline the next event in Riyadh next year, and more people will have to decide what they believe. At some point, you are who you choose to be. For a long time, folks have been able to keep these things separate. But here’s Ronaldo, along with Salvatore Ganacci, thrown in our faces for as long as this game endures. City of the Wolves is a good fighting game. It is. And it could not have been made under different circumstances. But in this time, this era, this world, it feels particularly telling. We all exist under capitalism. Nothing, and nobody, is innocent. The rich and powerful get away with everything. If you can’t earn people’s respect or a place at the table, you can damn sure try to buy it. Fatal Fury: City of the Wolves is a game I’ve been waiting for for a long, long time. And now that it’s here, I wonder if it was worth it. Everyone has a price, especially for the things they hope never to sell. What’s yours? Fatal Fury: City of the Wolves was tested on PC. Editors’ Recommendations

The shoe giant’s effort to find alternatives to Asian factories that churn out a dazzling variety of its sneakers is a cautionary tale.

The maximum extent of Arctic sea ice this winter was the lowest on recordTony Skerl/Shutterstock Human-caused climate change has ravaged sea ice at both ends of Earth in what may be a disturbing new normal. February this year saw global sea ice extent hit a record low as sluggish ice growth during the Arctic winter coincided with the fourth consecutive year of extremely low sea ice cover during the Antarctic summer. “It’s like a missing piece of a continent,” says Ed Doddridge at the University of Tasmania in Australia.

The Cybertruck is coming to Saudi Arabia as Tesla battles to revive Elon Musk's "apocalypse-proof" truck around.Tesla announced this month it would start selling the Cybertruck in Saudi Arabia, as well as the UAE and Qatar, marking the first time the divisive electric pickup has been sold outside North America. Deliveries will begin in "late 2025," per Tesla's website.The arrival of the Cybertruck in Saudi Arabia — where EV chargers are scarce and the market for electric cars is tiny — comes amid underwhelming sales of the stainless steel-clad vehicle.Tesla sold just 6,406 Cybertrucks in the first three months of 2025, according to data from Cox Automotive. Employees previously told Business Insider that some production targets for the truck at the Austin gigafactory had been dropped.The automaker has delivered fewer than 50,000 of the trucks as of March 20, according to a recall notice.That's a long way from the lofty targets set out by Musk before the Cybertruck launched in 2023.The world's richest person said Tesla planned to produce 200,000 Cybertrucks a year, and there were some 1.5 million reservations for the trapezoid truck before its release, according to one online tally reported by Electrek."There's really no way to describe its sales record today as anything other than a severe disappointment," Glenn Mercer, the president of automotive consultancy GM Automotive, told BI.Launching an all-electric truck in the oil-producing region is a novel approach to turning around the Cybertruck's lackluster sales. It might be one of the few options open to Tesla. Mercer said that the Cybertruck's unique design and sheer size meant it faced major barriers to entry in Europe and China, Tesla's biggest markets outside North America. In the European Union, where Tesla sold more than 300,000 cars last year, narrow roads and strict regulations mean the Cybertruck can only be driven with major modifications. One of the first trucks to appear in the UK was seized by police earlier this year as it was not road-legal.Despite shipping some Cybertrucks to China last year for display purposes, Tesla also faces headwinds in selling the electric pickup in its second-largest — and most competitive — market.Musk said on X last year that making a Cybertruck road-legal in China would be "very difficult." Pickup trucks in China have a history of strict regulation, although some of those rules have been loosened in recent years.Both China and Europe have tiny pickup markets compared with the US, so it's not clear whether the investment required to change the Cybertruck's design and build a network of repair shops to service the truck's unique features would be economic.Mercer said Tesla would likely try to reposition the Cybertruck as a boutique luxury vehicle for small international markets such as Saudi Arabia and the UAE as it expands outside North America."Given the high cost of adjusting the vehicle to each local market, I would imagine they would try to sell a very expensive, high-priced version of it as a niche or premium vehicle to make it worthwhile going after a dozen small overseas markets," he said.As a result, taking the Cybertruck global is unlikely to do much to turn around Tesla's sales slump — or halt the "brand crisis tornado" that has turned some of the trucks into a target.

What Kind of City Will Humanity Need? Exploring Amancio Williams' Proposal for a Linear CitySave this picture!Perspective drawing for La ciudad que necesita la humanidad, Argentina (circa 1983-1989). Coloured pencil on paper (47,8 × 62,6 cm). Amancio Williams fonds. Canadian Centre for Architecture. Gift of the children of Amancio Williams. Image © CCAThrough his unbuilt projects, built works, and research, Amancio Williams's ideas emerge as the result of a deep understanding of the most advanced trends of his time reflecting on architectural design, urbanism and city planning. By exploring various themes, concepts, and even materials, he aims to create a personal universe that interprets the present as something future-oriented, both international and distinctly Argentine. His proposal "La ciudad que necesita la humanidad" presents linear and layered buildings raised 30 meters above ground, incorporating everything from office spaces to roads and magnetic trains on different levels of a single structure. The Amancio Williams archive at the Canadian Centre for Architecture in Montreal documents Williams' career as an architect and designer from the 1940s to the late 1980s. The fonds documents his work for over 80 architectural, urban planning and design projects, as well as the administration of his architecture practice and his professional activities. Including drawings and sketches, presentation models, photographic materials, such as photographs of models, finished project (when realized), reference images, photographic reproduction of plans, and site photographs, the archive is available to consult offering more details.Rooted in his personal concerns and inquiries, Williams's work intersects multiple evolving issues, aiming to both enrich and solidify the local architectural culture while also imagining new worlds, cities, and forms of architecture. Engaging in dialogue with peers and within a specific historical context, he developed his ideas around various urban and architectural debates. The concept of a linear city occupied him for over a decade toward the end of his life. Save this picture!During a time of major change in how cities related to transportation—when railroads and automobiles were reshaping the network of connections across distant areas—urban planning began to adress these shifts by considering a new type of spatial organization where development along land routes would prevail, believing that transportation required new standards that would lead to a new kind of city. In "Las ciudades actuales", Amancio Williams sought to introduce the art and science of modern architecture and urbanism, emphasizing the dysfunction of cities developed during the 19th century. He claimed that the root of the problem lay within the cities themselves, and that modern urban planning could solve the crisis by organizing space, freeing up the ground, and applying modern architectural methods and technologies. In his text "La ciudad que necesita la humanidad (1978)", he outlined how future cities should be planned, based on routines, human knowledge, free ground, the use of automobiles, preliminary studies, pioneers, new cities, linear development, key factors—and, at that point, a focus on the South. Related Article 5 Modern Houses Designed by Amancio Williams That Were Never Built In response to his critique of Buenos Aires's urban growth in recent years, Williams argued that the right path to urbanization was through the linear city and the liberation of ground space. He drew from a range of precedents and modern architectural designs. The first precedent of a linear city came from Soria y Mata, a Spanish engineer from the late 19th century. Later, Williams connected with Reginald Malcolmson's "Metro-Linear City," which he helped promote in Argentina, and also found affinity with Le Corbusier's "Plan Obus" for Algeria.Save this picture!Between 1974 and 1989, Williams dedicated himself to developing and promoting his linear city vision under the name "La ciudad que necesita la humanidad", a model offering comprehensive conditions for human settlement. In a letter to Magdalena Nelson H. de Blaquier dated July 2, 1984, he acknowledged that the title had a promotional purpose: "This phrase is a slogan I created for the theme of humanity's habitat. It's clear in all languages—'La ville de l'aquelle a besoin l'humanité', 'The city that humanity needs', 'Die Stadt das Die Welt nötig hat'." "Cities must return to people what they have taken from them: light, air, sun, the enjoyment of space and time, what is essential for both physical and mental health. They must give back the hours now wasted unpleasantly in transport, hours that could be used for work, rest, or pleasure. Providing humanity with the city it truly needs, establishing rational and human-centered planning by applying our knowledge and today's vast resources—this must be both the goal and foundation of a new political vision." — Extract from the description of "La ciudad que necesita la humanidad", published by Amancio Williams Archive. The proposed city design left the ground surface open for agriculture and production, establishing a structure capable of rising above the existing urban fabric. Starting 30 meters above the ground, it was divided into three main sectors and made up of reinforced concrete frame structures. From the bottom up, the first frame would house service pipes for the renewal of water used. The residential units would be grouped into ten sections, each consisting of seven-story buildings arranged around plazas measuring 25 meters wide, 25 meters high, and 60 meters deep. The sides of these plazas would be made of a mix of glass and plastic. Above the residences, service areas supporting the housing zone would be placed. This entire lower sector would span 200 meters in width.Save this picture!The middle sector was intended for internal vehicular traffic, integrated with elevator cores. Given the expected gradual replacement of cars by magnetic trains, this section would be around 160 meters wide. At the top, the city would feature zones dedicated to work, including administration, services, and industrial markets, while large factories would remain on the ground level. This layout aimed to eliminate the physical separation between residential and work areas by bridging the gap between levels. It also sought to reconcile urban and rural life, offering the possibility to plow or grow wheat directly beneath the city.In response to the chaos and uncontrolled growth of contemporary cities, Williams emphasized the need to introduce order—an order that, as he wrote in a letter to Jerzy Soltan, "can only be achieved through the proper application of knowledge to human life". He believed this required a multidisciplinary approach. Throughout the project, he collaborated with numerous individuals, particularly from academia, who contributed research frameworks and the help of their students.Save this picture!From the outset, Williams's urban vision was grounded in four core principles: linear development, open ground, the creation of a spatial architecture, and the integration of that architecture (avoiding disconnected buildings). As Luis Müller explains in "Amancio Williams. La invención como proyecto", Williams estimated that a single linear development stretching from La Plata to Escobar—over 150 kilometers and encompassing Gran Buenos Aires—could accommodate 25 million residents. Each person would have 18.5 square meters of residential space, along with integrated functions necessary for urban life, including sports and recreational areas, plus aviation infrastructure such as runways and helipads at the top. As Malcolmson once remarked, this would be a megastructure "with cross-sections reaching up to ¡600 meters in height and 200 meters in width! [...] The concept was both astonishing and intimidating: a continuous city stretching from La Plata to Iguazú Falls on the Brazilian border—roughly 1,500 kilometers long."Save this picture!According to Luis Müller's doctoral thesis, Williams's approach was based on a universal model: a massive object designed to move across different geographies, climates, and human contexts. However, this idea began to feel outdated during the 1970s and 1980s, as it ignored the rising criticism of modernist urbanism coming from voices like the Team X group in the 1960s. These critiques emphasized participatory urban planning and rejected imposing totalizing models of city design. Around the same time, several futuristic formulations for cities emerged where mobility and flexibility were the main factors of change, such as those of Ron Herron (Walking City, 1964), Peter Cook (Plug In City, 1964) and Johana Mayer (Instant City, 1969), among other proposals by Archigram and others.Save this picture!Throughout his life, Williams believed that modern architecture and urban planning held the key to solving the issues caused by unchecked urban growth. He saw linear development as the most efficient and natural approach because it lifted the city off the ground, preserving the natural landscape and transforming the surface into parkland. He imagined buildings connected by broad walkways, allowing people to walk on green ground while vehicles moved along elevated roads. He also envisioned that taller buildings would create higher density within a smaller footprint, making cities more compact and efficient.Critically reflecting on human life and the systems we've created, this Modern Movement architect believed transformation was essential. He argued that humanity's core issue was the "disproportion, disconnection, and even conflict between the vast achievements of scientific knowledge and the way human life is organized." While opinions about Williams's linear city are varied and sometimes contradictory, it prompts important questions: What kind of future did this city envision—or should it envision? Why should we rely on a single architectural and urban planning solution for the evolving needs of humanity and space, when countless alternative approaches can coexist and prove just as valid?Save this picture!Without a doubt, Amancio Williams's legacy—and his many unbuilt projects—continues to influence generations worldwide. His work provides a lasting foundation from which to explore, challenge, and redefine the architectural responses to the complex issues of contemporary life. Following the CCA's recent acquisition of Amancio Williams's archive, the 2023–2024 Out of the Box exhibition series was dedicated to the architect's work (1913-1989), in which three guest curators—Studio Muoto, Claudia Schmidt, and Pezo von Ellrichshausen—presented new and expanded readings of Williams's work within the Latin American context and beyond, situating the social, environmental, and political dimensions of his practice within the contemporary architecture scene. In addition, the CCA published AP205 Amancio Williams: Readings of the Archive by Studio Muoto, Claudia Schmidt, and Pezo von Ellrichshausen (CCA, Spector Books, 2024, available in English and Spanish), offering alternative perspectives on Williams's work. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Agustina Iñiguez. "What Kind of City Will Humanity Need? Exploring Amancio Williams' Proposal for a Linear City" 21 Apr 2025. ArchDaily. Accessed . <https://www.archdaily.com/1028187/what-kind-of-city-will-humanity-need-exploring-amancio-williams-proposal-for-a-linear-city&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

Nature, Published online: 16 April 2025; doi:10.1038/s41586-025-08883-6A pangenome of wild and cultivated rice accessions captures the entire set of non-redundant genes and diversity in rice, and provides insights into the pathways involved in the evolution of rice.

Cats sometimes catch and leave a "gift" for their humans. But why do cats give us dead mice, birds or other prey?

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Oblivion Remastered, which may arrive as early as today, will boast a file size of 120GB, according to a leaker.Over the weekend, fans uncovered a ton of new information about the elusive remaster: https://80.lv/articles/obilvion-remastered-s-120gb-file-size-revealed-by-a-leaker/@kran27_ @X0X_LEAK