Fresh off Summer Game Fest 2025, Capcom announced a slew of new information on a trio of distinct titles! From the long-awaited announcement of the next Resident Evil to the four characters joining Street Fighter 6 and finally, a deeper look at Onimusha: Way of the Sword, we’ve got the recap ready just for you. Play Video Resident Evil Requiem revealed View and download image Download the image close Close Download this image Resident Evil Requiem features a new protagonist Grace Ashcroft, who is given a case to investigate, leading to the terrifying events to follow. While survival horror takes centerstage, Resident Evil Requiem will feature high-stakes cinematic action that will take the series in a bold new direction. Stay tuned for more info on this defining entry to the iconic series that will celebrate its 30th anniversary next year. Resident Evil Requiem will be released on February 27, 2026. Year 3 for Street Fighter 6 starts this summer Play Video Coming in with an uppercut, the next four characters are on their way for Year 3 of Street Fighter 6. Fans of the series may recognize these characters as they’re all returning in some way or form making this year a celebration of Street Fighter. The king Sagat will claim his throne in summer 2025. If you wait until the end of the trailer, you’ll see a short snippet of Sagat’s gameplay featuring some of his signature moves. C. Viper, the expert in spy gear, makes her way back to the series in fall 2025. Alex, the fighter with explosive power and masterful techniques, arrives in early spring 2026. Finally, the mysterious entity known as Ingrid makes her debut in a mainline Street Fighter title in late spring 2026. We also announced the return of the $1,000,000 grand prize for Capcom Cup 12 taking place next year in Japan! Think you have what it takes to compete? We do! Register for the Capcom Pro Tour and find out. Street Fighter Years 1-2 Fighters Edition also just released, which includes all characters from Year 1 and 2, and their colors 3-10 for Outfit 1. This is the perfect K.O. to get to caught up on all things Street Fighter 6. New weapons, souls, abilities, and foes fit for a samurai Play Video Onimusha: Way of the Sword unsheathed a more detailed look at the swordplay action you can expect in 2026. Set during the Edo period, our new protagonist Miyamoto Musashi must explore a Kyoto twisted by the influence of malevolence known as Malice.  In the latest trailer titled 2nd Trailer: Formidable Foes Emerge, we offer a further peek into the dark fantasy environments scattered with fearsome new enemies and showcase the riveting action like the powerful Issen that all form a samurai experience worthy of the legendary Musashi. Acting opposite our protagonist is his conniving rival Sasaki Ganryu who also wields an Oni Gauntlet and is an Onimusha in his own right. How will their stories intertwine? At the end of the trailer, a woman emerges from the glow of Musashi’s Oni Gauntlet. What role does she play? If you want your hands on something Onimusha, the remaster of Onimusha 2: Samurai’s Destiny featuring Jubei Yagyu was just released back in May. Though the gameplay may be different than what you can expect in Onimusha: Way of the Sword, the basic principles like souls, Genma, and dark fantasy ambience will be similar. New features in the remaster include a new Hell mode difficulty where taking one strike equals a game over, auto-save, easy weapon switching, and a new gallery mode. You can also play the first title Onimusha: Warlords with the Onimusha 1+2 pack, available now. That’s the short and sweet recap of everything Capcom announced at Summer Game Fest, but there’s far more to share for each title in the future. Whether you’re a fan of survival horror, samurai action, or a good old street fight, there’s something for everyone in Capcom’s 2025 and 2026! Thanks for all the support!

Peace Garden at UNESCO | © INFGM Located within the headquarters of UNESCO in Paris, the Peace Garden by Isamu Noguchi emerges not merely as a landscape installation but as a profound meditation on postwar diplomacy and cultural synthesis. Commissioned in the mid-1950s, the garden symbolizes the United Nations’ commitment to peace through mutual understanding and cultural dialogue. Peace Garden at UNESCO Technical Information Artist1-2: Isamu Noguchi Location: 7 Place de Fontenoy, 75352 Paris, France Client: Marcel Breuer / UNESCO Area: 2,400 m2 | 25,800 Sq. Ft. Project Year: 1958 Photographs: © INFGM and Flick Users, See Caption Details It should be a quiet, moving place. – Isamu Noguchi 3 Peace Garden at UNESCO Photographs © INFGM © INFGM © INFGM © INFGM © INFGM © INFGM © bbonthebrink, Flickr User © Patrice Todisco © bbonthebrink, Flickr User © bbonthebrink, Flickr User © Dalbera, Flckr user © Dalbera, Flckr user Park View Park View Context and Commission Noguchi, a Japanese-American sculptor and designer, was a poignant choice for the task. His biography embodies a convergence of East and West, as well as a lifelong engagement with public space as a vehicle for social commentary. By the time of his UNESCO commission, Noguchi had already engaged with landscape-scale sculptures, memorials, and playgrounds. The Peace Garden offered an opportunity to distill these threads into a singular work situated at the crossroads of global diplomacy. His selection was shaped by the broader architectural ethos of the UNESCO campus, designed by an international team including Marcel Breuer, Pier Luigi Nervi, and Bernard Zehrfuss. The ensemble called for a complementary but ideologically rich intervention, a space that could resonate as much with symbolic gravitas as with formal clarity. This garden was Noguchi’s first realized landscape design, and its execution was made possible through a personal introduction from Marcel Breuer, the chief architect of the UNESCO headquarters. Breuer not only facilitated the commission but also supported Noguchi’s experimental vision, which would challenge prevailing notions of diplomatic landscaping. Notably, the garden was completed in 1958 and spans approximately 2,400 square meters. It was constructed by renowned Kyoto-based master gardener Sano Toemon, marking a cross-cultural collaboration between modernist sculpture and traditional Japanese craftsmanship. Design Philosophy and Symbolic Intent Noguchi approached the Peace Garden as both sculptor and spatial thinker. He resisted creating a traditional memorial or a didactic allegory of peace. Instead, he crafted a contemplative void, a space that, through its absence of overt narrative, invited personal reflection and multiple interpretations. Drawing on the vocabulary of Japanese rock gardens and Zen traditions, Noguchi created a space of abstract expression that nonetheless maintained universal accessibility. The garden is composed of roughly hewn granite stones, a central water basin, and minimal vegetation. Each element is carefully positioned, creating an orchestrated tension between natural materiality and deliberate composition. This spatial language evokes notions of impermanence, balance, and introspection. The garden does not dictate how peace should be understood; rather, it sets a stage for experiencing peace as a spatial and emotional condition. In Noguchi’s words, the garden was to be “a quiet, moving place” rather than a monument. While inspired by Japanese garden typologies, particularly the stroll garden (池泉回遊式), Noguchi chose not to replicate tradition. Instead, he abstracted and reinterpreted elements such as Mt. Horai rock formations, stepping stones, and a crouching basin. These forms subtly allude to symbolic motifs without prescribing a singular reading. Noguchi negotiated directly with the Japanese government to secure donations of ten tons of stone and plant materials including camellias, maples, cherry trees, and bamboo. This act itself underscored the garden’s role as a diplomatic gesture, embedding it with botanical references to Japanese identity while maintaining a universal design language. Material and Spatial Composition Set at the base of the UNESCO building, the Peace Garden establishes a counterpoint to the architectural massing surrounding it. Its recessed layout forms a kind of spatial cloister, shielding visitors from the city’s rhythm and inviting a slower, more inward pace. The materials, chiefly unpolished granite, gravel, and water, speak to both permanence and mutability. The granite stones, irregular yet intentional in placement, recall tectonic forms and ancient spiritual markers. The central water feature introduces subtle movement and sound, enhancing the sensory richness of the space. The garden’s compositional core is its sculptural use of stone, each placement a spatial decision echoing both tectonic memory and sculptural intentionality. Noguchi collaborated on-site with Sano Toemon, whose craftsmanship adapted in real-time to the artist’s rapidly evolving vision. According to Sano, it was only after intense on-site dialogue and shared experience that he could fully comprehend and execute Noguchi’s aesthetic strategy, a testament to the garden’s improvisational and relational genesis. Spatially, the garden is organized not around pathways but around moments. There is no linear procession or axial symmetry; instead, it offers a field of relationships. Voids and solids, shadows and reflections, horizontality and vertical interruptions all work together to create a space that must be experienced slowly and from multiple vantage points. The absence of overt hierarchy in the layout allows users to construct their own narratives. It is a non-prescriptive space in which silence, texture, and light become the principal mediums of meaning. Peace Garden at UNESCO Plans Floor Plan | © Isamu Noguchi Floor Plan | © Isamu Noguchi Peace Garden at UNESCO Image Gallery About Isamu Noguchi Isamu Noguchi (1904–1988) was a Japanese-American sculptor, landscape architect, and designer renowned for his fusion of Eastern and Western aesthetics. Trained under Constantin Brâncuși and deeply influenced by Japanese traditions, Noguchi’s work spanned sculpture, furniture, stage sets, and public spaces. His practice was rooted in a belief that art should be integrated into everyday life, often blurring the boundaries between art, architecture, and landscape. Notable for his minimal yet emotionally resonant forms, Noguchi’s legacy includes iconic works such as the Noguchi Table, the UNESCO Peace Garden in Paris, and the Isamu Noguchi Garden Museum in New York. Credits and Additional Notes Style: Stroll Garden, Contemporary Japanese Garden Main Contractor: Sano Toemon, in collaboration with Uetō Zōen Listening to Stone: The Art and Life of Isamu Noguchi by Hayden Herrera Torres, Ana Maria. Isamu Noguchi: Studies in Space. Tokyo: Marumo Publishing, 2000. pp. 96–109. Sasaki, Yōji. “What Isamu Noguchi Left Behind.” Japan Landscape, no. 16, Process Architecture, 1990, p. 87. Treib, Marc. Noguchi in Paris: The UNESCO Garden. San Francisco: William Stout Publishers and UNESCO Publishing, 2004. Overseas Japanese Gardens Database. “UNESCO Garden.” Accessed May 2025.

With New York State officials set to award up to three downstate casino licenses in New York City by the end of 2025, more than a dozen proposals across the boroughs have emerged to vie for the prize. Earlier this week, Related Companies and Wynn Resorts, pushing a casino scheme as part of the westward extension of Hudson Yards, have officially withdrawn from the race, citing local opposition to the project. Instead, Related Companies will focus on building luxury housing above the Western Rail Yard site, targeting the construction of 4,000 residences overlooking the Hudson River. Wynn Resorts will exit the project entirely, Michel Weaver, a spokesman for the company, said in a statement. “The recent rezoning process has made it clear to us that there are uses for our capital more accretive to our shareholders, such as investment in our existing and upcoming developments and stock buybacks, than investing in an area in which we, or any casino operator, will face years of persistent opposition despite our willingness to employ 5,000 New Yorkers,” said Weaver. The pairt’s vision for the undeveloped rail yards, dubbed Hudson Yards West, was denounced by both the Friends of the Highline and Manhattan Community Board 4, an advisory committee for development in the neighborhoods surrounding Hudson Yards. Hudson Yards West’s viability had hinged on a controversial augmentation to its zoning, which would have drastically reduced the number of residential units in favor of commercial use and the aforementioned casino program. Though the rezoning proposal had been advanced to City Council by the City Planning Commission, it appears that councilmember Erik Bottcher, who represents the lower west side of Manhattan, was unlikely to approve the scheme. “I am highly skeptical of any alterations to the existing zoning regulations and the potential reduction of housing units,” Bottcher said previously, in a statement. Hudson Yards West would have included a 5.6 acre park named Hudson Green. (Courtesy Related Companies and Wynn Resorts) The initial concept for Hudson Yards West was master planned by SOM in collaboration with Hollander Design and Sasaki. It included a public park, in addition to housing and office space. How much the master plan will be revised going forward remains to be seen. Other casinos bids include Citi Field, backed by Steve Cohen and Hard Rock; a Times Square bid from SL Green, Caesars, and Roc Nation; an 11th Avenue site developed by Silverstein Properties; a proposal at Freedom Plaza by Mohegan and Soloviev Group; a Coney Island scheme from Legends Entertainment and the Chickasaw Nation; an extension of the existing Aqueduct Racetrack; and Bally’s takeover of a former Trump golf course in the Bronx. Formal bids for a casino license are due by June 27, with the winning proposals announced by the end of the year.

May 15, 20254 min readThis Strange Mutation Explains the Mystifying Color of Orange CatsYour orange cat may host a never-before-seen genetic pathway for color pigmentation, according to new studiesBy Gayoung Lee edited by Lauren J. Young Chris Winsor/Getty ImagesCats are arguably perfect. At least, evidence suggests that felines, which have evolved with minimal variation and maximal efficiency, have reached the “perfect” genetic form.“Everything you need to know about genetics, you can learn from your cat,” says Leslie Lyons, a veterinary scientist specializing in cat genetics at the University of Missouri. Studying cats’ coat colors, for instance, has informed various aspects of modern genetics, she says. But one cat fur hue has stumped scientists for decades: orange. In house cats, orangeness appears to be sex-linked; it almost always occurs in males because of a mutation on the sex-determining X chromosome. Scientists have long been unable to pinpoint any specific gene responsible for pumpkin-colored cats, however.Now two papers, published concurrently on Thursday in Current Biology, reveal a remarkably unique genetic pathway that has never been seen in other felines—or any other mammals. With their colleagues, two separate groups at Stanford University and Kyushu University in Japan independently arrived at the same surprising conclusion: a tiny deletion in a cat’s X chromosome increased the activity of a gene called Arhgap36, which scientists had never previously associated with pigmentation. In this case, it appeared to be coaxing the cat’s melanin-producing cells to shift orange.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.These findings close decades’ worth of investigations surrounding house cats with a ginger hue—a coat coloration that had “been recognized for more than a century [as] kind of an exception to the genetic rules that explain coloration in most mammals,” says Christopher Kaelin, a geneticist and lead author of the Stanford study.That’s partly because what seemed to be causing orange fur in cats wasn’t so much an “orange gene” as it was an “orange mutation” in an unknown gene, Kaelin says. The term mutation refers to changes to the original DNA, notes geneticist Greg Barsh, senior author of the Stanford study. “So how do you know that a visible trait [like orange fur] is caused by a change in DNA sequence?” Barsh adds. “The answer is pretty simple: you see it inherited from parent to child.”The marked abundance of male orange cats had long led scientists to suspect the trait is sex-linked—more specifically, tied to a variation in the X chromosome. British geneticist Mary Lyon confirmed this theory in 1961 through the discovery of X-inactivation, wherein female mammals’ cells randomly switch off one of the two X chromosomes they inherited from their parents. For most mammals, including humans and cats, this helps prevent genetic complications that might arise from having an additional X chromosome.Male kittens, also like most other male mammals, have one X chromosome and one Y chromosome. Male cats with orange-colored parents only get one copy of the orange mutation and thus end up with entirely orange fur. Female cats, however, have two X chromosomes. If one of these happens to have the orange mutation, the process of X-inactivation will produce orange, brown or black patches depending on which X chromosome—orange or nonorange—is activated in that part of their skin. This will give the kitten an overall coat pattern that is either mottled orange and black (tortoiseshell) or a patchwork of orange, black and white (calico).Over the years, scientists had incrementally closed in on the key mutation’s general location on the cat genome. “The candidate region had more than 10 genes, none of which was known for pigment regulation,” says Hiroyuki Sasaki, a geneticist and senior author of the Kyushu University study. Sasaki and his team decided to sequence the whole genomes of cats with different coat colors to single out any variations on the X chromosome. Similarly, the Stanford team collected a variety of data from a wide assortment of cats, directly comparing the DNA sequences of orange and nonorange ones.Both teams identified the small mutation, which was not in the Arhgap36 gene “but close to it,” Kaelin explains. That meant that the mutation didn’t disrupt the gene’s expression in the cat’s genome but that it was close enough to affect the gene’s activity, specifically in cells that produce melanin. “That’s a very unusual kind of mutation,” Barsh says.“The [mutation’s] pathway is interesting because it adds to the knowledge about this gene and how it functions,” says Lyons, who was thanked for contributing to cat genomic resources in the Stanford paper but wasn’t involved in either study. “This tells us that health is a complex interaction of genes and occurrences during the developmental process.”Orange and tortoiseshell cats’ tendency toward amusing, friendly and sometimes mischievous behavior is a running joke among cat owners, but there’s no scientific evidence linking coat colors and behavioral differences, Barsh says. Researchers aren’t yet sure if the mutation could play a role in this—it’s a question they’d like to ask next, however. “Because Arhgap36 is expressed not only in pigment cells but also in the brain and hormonal glands, an interesting possibility is that its altered expression causes changes in neuronal activity and even behavior,” Sasaki suggests.“We think that there is no advantage—or really, disadvantage—to having an orange mutation in a cat,” Barsh says. “It's just something that happened [because] they’re attractive; people like them, and so people saved it.”

There’s a burgeoning movement in the U.S. to convert golf courses into parks, and even housing. They consume too much water and take up too much space. Plus, golf is declining in popularity. Sasaki recently released a strategic masterplan for transforming the former Republic Golf Course into Arboretum San Antonio. The campus would have ample green space, but also a “living museum,” and a center for tree research. Arboretum San Antonio will total over 200 acres. It will have links to Salado Creek and the Howard W. Peak Greenway, making for one of the largest arboreta in the state of Texas. Features will include a welcome center, event center, retail nursery, a cafe, and The Oval community event lawn. Arboretum San Antonio will link to existing trails. (Courtesy Sasaki) The Canopy Walk will be a raised boardwalk platform that guides visitors through a forested landscape. (Courtesy Sasaki) Sasaki worked with the Arboretum San Antonio board of directors and local consultants for the last year. The office engaged over 18,000 community members, it said, in the visioning and design process. The strategic masterplan will restore the ecology that was destroyed by the former golf course. Adriana Quiñones, Arboretum San Antonio CEO, said the strategic masterplan is the “culmination of thousands of San Antonio voices coming together to create something extraordinary.” “Our design reflects the community’s desire for spaces that are physically accessible, culturally inclusive, educationally rich, and ecologically sound,” Quiñones added. “Community input has shaped every element.” A network of nature trails are also planned for the project. (Courtesy Sasaki) Quiñones further noted that Arboretum San Antonio will have an outdoor classroom, discovery areas, and a Veterans Grove. There will be heritage tree preservation, water conservation features, and diverse botanical collections, the CEO elaborated. Parking will be confined to Arboretum San Antonio’s core campus, which is closest to SE Military Drive, to ensure tranquility. The site will be broken up into nine arboretum zones, each with its own ecology. Visitors can learn about climate-resilient landscapes, and Indigenous land management practices. The Outdoor Classroom will be a place to learn about the ecology. (Courtesy Sasaki) Sasaki is collaborating San Antonio-based partners MPStudio, Work5hop, Ximenes & Associates, Pape-Dawson Engineers, Urban Tree Company, Cielo Strategy Group, Robb S. García, and Jeanette M. Honermann. North of Arboretum San Antonio, Reed Hilderbrand and SO – IL are renovating San Antonio Botanical Garden, another project enhancing the city’s green space. The project will take place over four phases over the course of 20 years.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A new, integrated building by Sasaki now replaces the old science building at the Frederick Gunn School and brings a range of learning environments together. Titled the Center for Innovation and Active Citizenship, the building honors the school’s founder’s vision as an educator, abolitionist, advocate for the outdoors, and innovator in curriculum and student development. The new building, which integrates seamlessly into the campus established in 1850, introduces a contemporary expression while maintaining the scale and integrity of its surrounding context.The architects reinterpreted the local typology of a contemporary farmhouse for the new building and organized the program into three pavilions. This approach allowed different functions to be distinguished while also reducing the building’s perceived scale in relation to neighboring historic structures. The wooded and rocky nature of the site, along with the vernacular architecture of the campus and surrounding region, inspired the project’s materiality. The architects focused on a simple palette, uniform colors, and treated materials. The landscape around the building was also redesigned, introducing new circulation paths connecting the campus’s two primary open spaces. Outcroppings of rock and mature trees defined the building footprint and were left untouched during construction. Trees that had to be felled were reclaimed and used to create interior seating and custom tables for the project.The program of the building allows cross-pollination of different activities, as spaces transition from purpose-built areas like physics, biology, and chemistry labs to flexible spaces like shared flex classrooms, the Entrepreneurship Center, and the Center for Just Democracy. The sensible approach to massing, program relationships, and landscape was also carried through to the building technologies, as it minimizes environmental impact through the use of solar photovoltaic panels and a geothermal well field, which provides the majority of heating and cooling. Furthermore, by utilizing a highly efficient envelope, the building sits very near Net Zero status. Nicknamed “The Lizzie,” the Center for Innovation and Active Citizenship is now utilized as a hub for the campus community, as its open and flexible learning environments allow students and faculty to turn ideas into action.The new center, and the surrounding landscape not only provides a dynamic addition to the campus, but also provides spaces for students to receive a cutting-edge experience and become future leaders and model citizens. Opening its doors to the students in January 2024, The Center for Innovation and Active Citizenship is now a bustling hub that fulfils, and carries Frederick Gunn's vision to the future.Project factsClient: Frederick Gunn SchoolArchitect: SasakiArea: 24000 ft² (2230 m2)Location: Washington, CTMEP: BR+A Consulting Engineers Inc.Structural Engineer: RSELandscape Engineer: Future Green StudioEngineering & Consulting: Haley & Aldrich, Studio NYLCivil Engineer: Tighe & Bond Inc.Acoustic Consultant: AcentechLighting Consultant: LAM PARTNERSCompletion year: 2024Top image © Jeremy Bittermann, Courtesy -  Sasaki All images © Jeremy Bittermann.