First-person shooters comprise one of the most well-developed video game genres in existence. The number of high-quality games and franchises practically demands that any new entry must have an interesting concept and a rock-solid engine. Otherwise, it will quickly get buried under an avalanche of award-winning titles. When the original F.E.A.R. came out in 2005, a well-crafted horror theme, the AI, and a few gameplay innovations allowed it to succeed despite direct competition from established franchises, such as Quake 4 and Call of Duty 2, among others. F.E.A.R. 2: Project Origin draws on the strengths of its predecessor and adds a few improvements. The question that now remains is whether or not the additions make up for the fact that the game's concept is no longer new and unique. Read on for the rest of my thoughts.

A group of researchers who went from game developer to game developer looking to acquire data for studying online social interaction got more than they bargained for. Sony Online Entertainment keeps extensive server logs of everything that happens within Everquest 2. When the researchers asked if there was anything they could look at, SOE was happy to share the entire EQ2 database — upwards of 60 TB — for their perusal. In addition to basic gender and age queries — who interacted with whom, and when — the scientists are also trying to find ways to track more subjective characteristics, such as performance, trust, and expertise. "To get estimates of them, the team is experimenting with trying to track physical proximity and direct interactions, such as when characters share experience from an in-game victory. To give a concrete example of the data's utility, Srivastava described how he could explore the phenomenon of customer churn, something that's significant for any sort of subscription-based service, like cell phones or cable TV. With the full dataset, the team can now track how individual customers dropping out of the game influenced others who they typically played or interacted with. Using this data, the spreading rate and influence factor could then be calculated, providing hard measures to work with."
Update: 2/18 at 21:04 by SS: Sony contacted us to set the record straight about the shared information. All information that could identify players was removed from the data given to the researchers. Chat logs were not shared at all. Read on for SOE's full statement.

Cory Foy writes "When my wife got a Touch several months back, the first thing I wanted to do was build some applications for it. Who wouldn't want to play with a device that has accelerometers, position sensors and multi-touch gestures? But being new to the Mac world, I needed something to help guide me along. Beginning iPhone Development aims to be that guide. But does it live up to the challenge of teaching a newbie Mac and iPhone developer?" Read below for the rest of Cory's review.

Pandemic Studios, having enjoyed some success with their release of Star Wars: Battlefront II, sought to bring their style of action game to the Lord of the Rings universe as well. Since both Star Wars and LotR are widely regarded as classics in their respective genres, and both have a rich, deep fan base, the task would appear to be similar in scope. Many were expecting Lord of the Rings: Conquest to be, if nothing else, a playground for Tolkien fans to revel in the environments so vividly brought to life by the movies. Unfortunately, between the short, simplistic campaign and the shallow, uninspired combat, LotR: Conquest merely relies on its name for success, failing to bring the innovation or cleverness that the franchise deserves. Read on for the rest of my thoughts.

MarkN writes "There's hardly a video game made nowadays that doesn't involve puzzles in some sense. In some games they serve as occasional roadblocks to break up the action, and in the genre of adventure games the whole focus of the game is solving a set of related puzzles. I've written a piece for AdventureClassicGaming describing and categorizing puzzles in adventure games. Adventure games make use of explicitly designed abstract puzzles — they're explicitly designed rather than being randomly or procedurally generated, and abstract in the sense that all you need to do is figure out the right actions to perform, rather than making the performing of those actions be a challenge in and of itself. My classification makes distinctions at two levels: you have self-contained puzzles, which can depend upon using your basic verbs of interaction, solving some minigame based around achieving a particular configuration, or providing an answer to a riddle. On the other side, you have puzzles that require some external key: this could be an item, a piece of information, or an internal change to the game's state triggered somewhere else. From there, I talk about some of the possibilities and pitfalls these puzzles carry, as well as their use in other genres. I'd be interested to hear the community's thoughts on the use and application of puzzles in adventure games, and games in general."

MarkN writes "It seems like whenever broad topics of game design are discussed on Slashdot, a few people bring up examples of Adventure Games, possibly owing to the age and interests of our members. I'd be interested to hear the community's thoughts on a piece I wrote on Adventure Games, talking about the evolution they underwent in terms of interfaces, and how the choice of interface affects some aspects of the puzzles and design. My basic premise is that an Adventure Game is an exercise in abstract puzzle solving — you could represent the same game with a parser or a point and click interface and still have the same underlying puzzle structure, and required player actions. What the interface does affect is how the player specifies those actions. Point and click games typically have a bare handful of verbs compared to parser games, where the player is forced to describe the desired interaction much more precisely in a way that doesn't lend itself to brute force fiddling. It's a point Yahtzee has made in the past; he went so far as to design a modern graphic adventure game with a parser input to demonstrate its potential." Read on for the rest of MarkN's comments.

GamerDNA is trying out what they call their Discovery Engine, a system that uses metadata from users to classify games and identify which have similar traits. Massively describes it thus: "Once the gamerDNA community continues to contribute to something like this, it builds up an enormous database of terminology based on actual player knowledge, not just shiny PR words thrown together to promote a game. These search terms can end up being unique to a specific genre, and ultimately lead gamers to exactly the types of games they're looking for." GamerDNA tested the system out on some of the popular MMOs, and they've posted the results. They look at how MMO players identify themselves within the game, how they describe the setting, and what basic descriptive phrases they use in reference to the games.

Edge Magazine is running a story about the development of the real-time strategy genre. They credit Dune II: the Building of a Dynasty with establishing the basic concepts that led to more popular titles like Command & Conquer and the original Warcraft. "[Westwood Studios co-founder Brett] Sperry describes Dune II's core challenge as 'combining combat, exploration and production at a particular pace and rhythm to make it all exciting and almost out of control. That was a key part of what made it so addictive.' Indeed, the experience was quite unlike more staid turnbased strategies, where success or failure rolled in slowly rather than rushing over sand dunes at the speed of an action game. 'You had to think and respond fairly quickly, and in realtime, or else your base and forces would all be overrun. And as we developed the game further, it became clearer how the pacing and battle scenario design were all a delicate balance.'"

Since shortly after its release in late 2004, World of Warcraft has held the position of the most popular MMO, quickly outstripping predecessors such as Everquest and Ultima Online, and continuing to hold the lead despite competition from contemporaries and newer offerings, like Warhammer Online. When World of Warcraft's first expansion, The Burning Crusade, was released, it built on an already rich world by using feedback from players and two extra years of design experience to work on condensing the game to focus more on the best parts. Now, with the release of Wrath of the Lich King, Blizzard seems to have gotten themselves ahead of the curve; in addition to the many changes intended to remove the "grind" aspect that is so prevalent in this genre, they've gone on to effectively put themselves in the player's shoes and ask, "What would make this more fun? Wouldn't it be cool if..?" Read on for the rest of my thoughts.

John Burek points out an article written by Stan Veit, former editor-in-chief of Computer Shopper magazine, and one of the first retailers to deal with the fledgling Apple Computer in the late 1970s. Veit describes his introduction to the Apple I and his early interactions with Steve Jobs and Steve Wozniak as they developed their early models. Quoting: "After Woz hooked his haywire rig up to the living-room TV, he turned it on, and there on the screen I saw a crude Breakout game in full color! Now I was really amazed. This was much better than the crude color graphics from the Cromemco Dazzler. ... 'How do you like that?' said Jobs, smiling. 'We're going to dump the Apple I and only work on the Apple II.' 'Steve,' I said, 'if you do that you will never sell another computer. You promised BASIC for the Apple I, and most dealers haven't sold the boards they bought from you. If you come out with an improved Model II they will be stuck. Put it on the back burner until you deliver on your promises.'"

Pickens writes "MIT computer scientist Scott Aaronson has an interesting post on how to improve Wikipedia's coverage of theoretical computer science. Aaronson writes what while Wikpedia will never be an ideal venue for academics because 'we're used to (1) putting our names on our stuff, (2) editorializing pretty freely, (3) using "original research" as a compliment and not an accusation, and (4) not having our prose rewritten or deleted by people calling themselves Duduyat, Raul654, and Prokonsul Piotrus,' he identifies twenty basic research areas and terms in theoretical computer science that are not defined on Wikipedia, and invites readers to write some articles about them. Article suggestions include property testing, algorithmic game theory, derandomization, sketching algorithms, propositional proof complexity, arithmetic circuit complexity, discrete harmonic analysis, streaming algorithms, and hardness of approximation. One commenter suggests that professors should encourage students to improve the Wikipedia articles about topics they are studying. 'This will help them understand the topic and at the same time improve Wikipedia.'"

Hermann Peterscheck, lead producer for Jumpgate Evolution, sat down with IncGames for a lengthy interview they've split into three parts. In the first, he talks about the scope and feel of the game, and how they broke the vastness of space down into usable, "logical chunks." He goes on to confirm that there are no classes, and he provides some basic information about the game's economy and how Jumpgate Evolution compares to other MMOs. In the last segment, Peterscheck discusses the lore and some of the thought process behind developing the story, noting how happy they were to own the IP from the original Jumpgate.

stoolpigeon writes "Orson Scott Card's work Ender's Game began as a novelette, which he says he wrote as a means of leading up to the full story he had developed, Speaker for the Dead. Ender's Game was published as a full novel in 1985, and won the Hugo and Nebula awards (as did Speaker for the Dead in '86 and '87). I think it is safe to say that Ender's Game is ensconced in its position as a science fiction classic. Now, 23 years later, Card has finished the first direct sequel to Ender's Game in his new novel Ender in Exile." Keep reading for the rest of JR's review.

An anonymous reader writes "After attending DEFCON in August and seeing the overwhelming interest in this book, I was eager to dive into The IDA Pro Book by Chris Eagle. Chris Eagle's team, School of Root, won the 'Capture the Flag' event at DEFCON this year and Chris gave a presentation on CollabREate, a tool that integrates with IDA Pro to allow collaboration in reverse engineering (RE). All of that — together with the fact that the book sold out — screamed that this book should quickly make it to the top of my list." This review originally appeared on The Ethical Hacker Network.

ahab_2001 writes "The computer game Spore has been marketed partly as an experience that makes evolutionary biology come alive in a game setting. But does that claim hold water? To find out, John Bohannon, a correspondent for Science Magazine (writing as 'The Gonzo Scientist'), sat four card-carrying scientists, ranging from evolutionary biologist Niles Eldredge to JPL astrophysicist Miles Smith, down in front of a terminal to play the game. The upshot, says Bohannon: Spore flunks basic science, getting 'most of biology badly, needlessly, and often bizarrely wrong.'"

Martin Ecker writes "Mobile phones and other embedded devices are getting more and more powerful each year. The availability of dedicated hardware for 3D rendering is becoming increasingly ubiquitous, and the latest mobile phones come with 3D hardware acceleration that rivals the power of desktop graphics hardware. OpenGL ES 2.0 is the latest version of a cross-platform, low-level graphics API to utilize these new resources available in embedded devices. The OpenGL ES 2.0 Programming Guide published by Addison-Wesley Publishing aims to help the reader make use of the full power of OpenGL ES 2.0 to create interesting 3D applications." Keep reading for the rest of Martin's review.

Frequent Slashdot contributor Bennett Haselton writes "The Virginia Supreme Court has ruled that the state's anti-spam law, which prohibits the sending of bulk e-mail using falsified or forged headers, violates the First Amendment because it also applies to non-commercial political or religious speech. I agree that an anti-spam law should not outlaw anonymous non-commercial speech. But the decision contains statements about IP addresses, domain names, and anonymity that are rather basically wrong, and which may enable the state to win on appeal. The two basic errors are: concluding that anonymous speech on the Internet requires forged headers or other falsified information (and therefore that a ban on forged headers is an unconstitutional ban on anonymous speech), and assuming that use of forged headers actually does conceal the IP address that the message was sent from, which it does not." Click that magical little link below to read the rest of his story.

When Crysis was released last year, it immediately became known for two things; excellent gameplay and ridiculously high hardware requirements. With the recent release of Crysis Warhead, a standalone expansion to the original game, Crytek's plans were to maintain or improve the quality of gameplay while simultaneously streamlining it so a broader audience would have a chance to enjoy it. As it happens, they succeeded. Fans of the original game will feel right at home in Warhead, and it provides a good chance for new players who were curious but wary of Crysis's graphical requirements to give it a shot. Read on for my thoughts.

The Development Director for EA's upcoming free-to-play action game, Battlefield Heroes, spoke with Gamasutra at the Austin Game Developers Conference about creating the game under an abnormal business model (abnormal for EA, anyway). He spoke about using the "Scrum" development model, and how the web platform was the most difficult part to create. Gamespy has written some initial impressions, and Joystiq has a basic description of the game.

Soft Image is running a detailed story about the making of Metal Gear Solid 4. They explain the game's development cycle, from the art direction to the animation of characters to the building of models and textures. "In terms of bones used for constructing the bodies of characters, about 21 joint bones were used that contained animation data and were activated through these data. But many auxiliary bones were also used to supplement movements such as the twisting of knees, elbows, legs and arms. These were not activated by animation data. Rather, they were linked to the values of the basic joints that were activated by animation. ... They also used a tool to automatically generate the rig for controlling eyeball movement and the muscles around the eyes. Because the area around the eyes is also controlled using both shapes and bones, when the eyeball locator is moved, the muscles move smoothly just like they do for the mouth. Further, even if the shape is edited to redefine the eye edges, it does not spoil the blinking or brow furrow expressions at all."