An anonymous reader writes with this excerpt from Cosmos: "Astronomers have made the first direct capture of a spectrum of light from a planet outside the Solar System and are deciphering its composition. The light was snared from a giant planet that orbits a bright young star called HR 8799 about 130 light-years from Earth, said the European Southern Observatory (ESO). ... The find is important, because hidden within a light spectrum are clues about the relative amounts of different elements in the planet's atmosphere. 'The features observed in the spectrum are not compatible with current theoretical models,' said co-author Wolfgang Brandner. 'We need to take into account a more detailed description of the atmospheric dust clouds, or accept that the atmosphere has a different chemical composition from that previously assumed.' The result represents a milestone in the search for life elsewhere in the universe, said the ESO. Until now, astronomers have been able to get only an indirect light sample from an exoplanet, as worlds beyond our Solar System are called. They do this by measuring the spectrum of a star twice — while an orbiting exoplanet passes near to the front of it, and again while the planet is directly behind it. The planet's spectrum is thus calculated by subtracting one light sample from another."

Wired is running a story inspired by the level of gore in the recent Wolverine game that wonders: how much is too much? It mentions a study we discussed in February which indicated that violence tended to interest gamers less than other characteristics. "... the longer you play a 'twitch' action game, the less you notice the cultural content — the gushing blood, the shrieks of agony. You're too busy focusing on the gameplay. I noticed this with Wolverine. For the first hour, I found the deranged bloodshed both shocking and exciting; it made me feel like I 'was' Logan, the grunting, killing-machine character from Marvel Comics' X-Men universe. But as I became more expert, the cultural shell of the game boiled away. In a sort of staring-into-the-cascading-numbers-of-the-Matrix way, I found myself looking past the visible aspects of the game and savoring the underlying, invisible mechanics of play. ... The game became pure physics and algorithms: Vectors, speed and collision detection. The gore had become mostly irrelevant."

Jill Duffy writes "GameCareerGuide has posted an intellectual article about video games which argues there is no such thing as 'breaking the fourth wall' in games. Written by Matthew Weise, a lead game designer for the Singapore-MIT GAMBIT Game Lab, the article considers the complex relationship between video game players and characters. Weise says that, unlike in theater and film, video games don't ever really break the fourth wall, as it were, because in games, there is no wall. Players are always tethered to the technology, and the player is always just as much the main character as not the main character. Weise looks at both modern experimental games, like Mirror's Edge, as well as old classics, like Sonic the Hedgehog, to defend his point. He writes, 'Both avatars and the technological devices we use to control them are never simply in one reality. They are inherently liminal entities, contributing to a mindset that we, as players, exist in two realities at once. It's just as natural for a player to say, "I defeated that boss," as it is to say, "Snake defeated that boss," since Snake is and is not the player at the same time. It is likewise natural for a player to say, "I punched an enemy soldier," when in reality, she punched no one. All she did was press a button.'"

eldavojohn writes "You may recall us discussing some legislation about online music. More decisions are being made that may affect how much money Apple must impart to labels and musicians. Right now, it's 9 cents a track — which adds up, when you sell 2.4 billion tracks each year. The Copyright Royalty Board is asking for 15 cents a track (66% increase) and Apple isn't going to agree." Reader scorp1us points out a similar article at CNN; both stories mention that Apple has intimated such a change might cause a complete shutdown of the iTunes Music Store. Update: 10/02 21:03 GMT by T : According to CNet, the rate has been officially frozen at 9.1 cents per track.

Tony Mobily has written a thought-provoking editorial for Free Software Magazine that makes the bold prediction of Red Hat's eventual demise at the hands of Mark Shuttleworth and Ubuntu. Calling on memories of Red Hat alienating their desktop user base to focus on their corporate customers and making money, Mobily states that many of those alienated desktop users are also system administrators who now feel more comfortable with Ubuntu and will make the choice to use Ubuntu Server over Red Hat now and in the future.

rockstarenvy writes "In a recent interview with the Escapist, Russ Pitts reveals a lot about who John Romero really is. As Romero puts it: 'After 10-plus years of reading about yourself, all the good and bad, it all just becomes irrelevant after awhile. I know what I'm capable of doing and the people I work with are united in our mission, and they treat me just like they treat each other. The whole fame thing doesn't come into play when we're in development, because we're all a team. I know some of my guys read a lot of forums and sometimes they'll see some remark that someone clueless made and show it to me, chuckling because they know the truth of who I am and how I work. The media personification of John Romero is not who John Romero is.'"