theodp writes "Over the next week, taxpayers in 19 states will be confronting new sections on state returns that ask them to fork over unpaid sales taxes for items purchased out of state, including Internet transactions. A NY Daily News editorial characterized the addition of use tax to state returns as a rip-off and advised taxpayers to fill in a zero on the line, although an accountant suggests doing so may even be worse than just leaving it blank and put you on the line for tax fraud."

Wynken de Word writes "A new online advertising model linking commercial messages to individual words of editorial content aims 'to tap one of the last ad-free frontiers of the Internet -- the text of articles and message boards -- in what [company backers] bill as the ultimate contextual advertising play' according to this article at Ad Age, a leading advertising industry magazine. On the other hand, the article notes: 'If it looks like a pop-up, feels like a pop-up or interrupts like a pop-up, we might as well just assume consumers will outright hate and reject the format,' said Pete Blackshaw, chief marketing officer of Intelliseek, a Cincinnati research firm that tracks online consumer buzz."

Thanks to Video-Fenky for translating a Japanese editorial from Famitsu Magazine discussing the future of videogame magazines, as Enterbrain president Hirokazu Hamamura muses: "With the Internet as widespread as it is, many people don't think we need game magazines at all -- after all, you can get the latest information right on the Net." But he argues for the "...real charm of your basic [paper-based] magazine news feature: it takes plain old news and turns it into something you don't mind sitting down and reading for a long time." He also suggests that game reviewers have to contend with much more targeted genres, suggesting: "The marketing tactics behind narrowing down target audiences [for specific games] will become the first step in game creation, not the last... Once that happens, game reviews based on the likes and dislikes of the reviewer will become meaningless."

Snaller writes "The Sci Fi Channel has listed its programming for the upcomming year, it includes the Farscape miniseries already mentioned by Slashdot, it also includes a miniseries based the legendary scifi story by Larry Niven: Ringworld. In the far future 4 travelers crash on a ring around a sun in a distant system. Shall be interesting to see how they depict the Puppeteers."

Thanks to GamerDad for its editorial discussing some of the problems of videogame remakes. The author, having recently played Metal Gear Solid: The Twin Snakes for GameCube ahead of playing the original, comments "I never really came to grips with that game either until I played the VR missions in [the original Metal Gear Solid" He goes on to point out: "Never assume that the audience for your remake is the same as the audience for the original. Hollywood has been remaking a lot of old movies and TV shows in the last few years but they're certainly not expecting audiences to know those plots inside and out to the point of leaving out crucial bits. That's kind of the situation I think Silicon Knights and Konami got in with leaving out the VR missions (or something similar) in Twin Snakes." But he concludes by arguing that 'what makes a remake most worthwhile is when time is spent reworking the game to make things 'different'." So exactly how reverent should a remake be?

Thanks to GameTunnel for its editorial discussing the outcome of last week's Independent Game Festival awards, as previously covered on Slashdot Games, and part of a comprehensive GameTunnel IGF section. The writer is particularly concerned that the relatively high-budget, but still publisher-less Savage: The Battle For Newerth won major awards: "IGF has this year shown that a team's ability to raise money is as important as innovation itself. Consider this, if Savage was done on a $50,000 budget instead of a $1.5 million dollar budget, how would it be different? Would things that are in the game have been left out? I believe that the clear answer to this question is yes." What defines an 'indie' game for you, and should there be a maximum budget for IGF-entered games?

aanand writes "Superstar UK games journalist Kieron Gillen (his blog seems to be down at the time of writing) has written a fascinating editorial/essay on what he calls The New Games Journalism, in which he discusses the future of printed and electronic games writing, and offers some good insights into where the next generation of writers might be headed."

MadChicken writes "This weekend, LinuxToday found that their link to an article was blocked by CMP Media LLC (publishers of Information Week). The editorial with full details is here. Could this have impact on other online news sites?"

Carlos Camacho writes "Piracy has been in the news recently within the game developer, and game player communities. You've seen all arguments against piracy in the past... Or have you? GBA and Mac game developer Aaron Fothergill of Strange Flavour Software wrote iDevGames a guest-editorial that will hopefully lead more users who copy games to re-think exactly it is that they are hurting. 'One of tenets of the software thief, is that "software is too expensive." They will then usually go on to bemoan how the 'giants' of the industry treat users unfairly and how stealing their software is their way of getting at 'the man.' Unfortunately, little do they realise, that the opposite is happening! Instead, rampant software theft benefits the 100 stone gorillas at the expense of new products that would otherwise be able to compete on price and features, resulting in only the big monopolistic companies keeping their products in the market and being able to control it'."

qasimodo writes "Gamespot.com is reporting that Epic has banned the first cheater from Unreal Tournament 2004. You can read the thread explaining this on the official Atari forums for the game. DrSin, one of Epic's programmers started the thread as a warning to fellow users, and so far everybody seems to be happy. I agree with that, we need to stop the cheaters before they ruin every game out there. But the question remains: How can they stop them completely? Surely, script kiddies will just stop and go somewhere else, but how about the guys who write all the tools? They won't stop so easily." Elsewhere, nerdb0t points to an ACM Queue editorial on the subject of cheating in online games, arguing: "Perhaps game developers don't realize they're enabling roving gangs of sociopaths who are effectively destroying the virtual world the developers have worked so hard to create."

Thanks to GamerDad for its editorial discussing whether some recent videogames, such as Metal Gear Solid: The Twin Snakes, look "too sterile and perfect" . The author explains: "The animation is fine but the world Snake runs through is too sharp edged. There's no dirt and grime in the graphics because they're perfect versions of what was seen in the original game. Somehow, these better graphics have detracted somewhat from my opinion of the newer game." He continues: "DOOM 3, for as great as it looks, suffers from a lack of grit in still shots. I'm hoping the final game will not have the plastic look of the current pictures. Even the highly polished Quake III Arena didn't come across as being plastic to me." Do other gamers share this perception of graphical sterility in some recent games?

Thanks to GamesIndustry.biz for its editorial discussing whether the market for 'Mature'-rated videogames is really that significant, following "EA CFO Warren Jenson's announcement last week that the company is working on a videogame based on Francis Ford Coppola's classic mafia movie The Godfather. The resulting game is expected to be EA's first foray into publishing M-rated... titles for several years." But the editorial argues: "Mature games, although certainly a popular theme with the stock market, are still basically a hot topic because of one franchise - namely Rockstar North's Grand Theft Auto titles." It goes on to point out: "M-rated games accounted for only 11.9 per cent of videogame sales in the USA last year in total... despite this, publishers are rushing headlong into making mature games, believing that emulating the success of Grand Theft Auto is just a splash of blood and a bucketful of swearwords away."

Thanks to AVault.com for its editorial ruminating on whether games can or should reference the more serious social issues of today. The piece starts by noting: "Only a very few computer offerings have anything resembling any form of probing social critique... In contrast, other entertainment media - including movies, music and books - all address these issues on a regular basis without raising eyebrows." The author concludes by suggesting it's "conceivable that games would reap greater societal acceptance and more legitimacy as a medium for presenting important concerns of our times", although mentioning the worry that "increasing the respectability of gaming might reduce the pleasure of the pastime" if done in the wrong way.

BitWarrior writes "Recently today it was revealed that Blizzard, the creator of many legendary games such as the Diablo, Starcraft and Warcraft franchises, will be using BitTorrent to distribute their Beta release of their latest game, World of Warcraft. BitTorrent is becoming a hit among companies required to distribute large quantities of data to their customers. Valve also jumped on the BitTorrent bandwagon last month(NYTimes, first born required, blah blah), hiring its creator, Bram Cohen. The one downside to Blizzards move is that BitTorrent has been added to many Universities black lists of clients to allow through their networks. Will the recent acceptance by such reputable companies open the possibility to Universities that not all P2P distribution is inherently bad?"

Thanks to Stratics for its editorial discussing the problems faced by the licensed massively multiplayer game. The author points out: "Star Wars, The Matrix, Middle Earth - these are just some of the pre-existing worlds that are making the MMOG leap", and goes on to lament: "One of the problems is that you have to create an entire believable, explorable world. This is hard enough as it is, but then you have to cater to pre-existing notions of that world. Fans are your main target group here, and they have that world all locked up tight in their heads. Prepare for Foaming-at-the-Forum disease, my illustrious developers, prepare well." We've previously covered other aspects of this dilemma, but do licenses bring excessive expectations to a persistent world where everyone wants to be the hero?

An anonymous reader writes "Saw this newsbit on AdventureGamers.com - Steve Purcell, creator of Sam & Max, made the following statement in a letter to the LucasArts fansite Mixnmojo regarding LucasArts' cancellation of Sam & Max 2: 'LucasArts' sudden decision to stop production on Sam & Max is mystifying. Sam & Max was on schedule and coming together beautifully... It's a shame to think that the [dev team's] accomplishments, as well as the goodwill that has been growing in the gaming press toward this project, will all go to waste due to this shortsighted decision.' Check out the link for the full letter. There is also an interesting editorial posted on AdventureGamers.com as well." Is this cancellation a blow the commercially developed traditional graphic adventure can recover from?

Gamaroo writes "EuroGamer.net has up an interesting editorial by Kristan Reed in regards to the lack of hits that result from so many game releases near the Christmas shopping season, and the resulting post-Xmas lull. As Reed stated, 'Note to publishers; we can't afford to buy 20 games in the run up to Christmas. Even 10 would be a struggle, and the truth is gamers are forced to play safe and go for the games they know are going to be good.' He goes on to state that, 'Of the eight or so games that Microsoft put out exclusively on Xbox, just one of them (Project Gotham Racing 2) actually sold in decent numbers. Of Sony's extensive line up, literally all of them flopped; leaving its summer hit Eye Toy: Play to fly the flag for its first party strategy.'" It's worth noting that the editorial refers to the UK charts/sales figures, so Xmas release dates differed somewhat from the States.

Pluvius writes "A terse press release from LucasArts, the creator of classic adventure games such as Grim Fandango and the Monkey Island series, reveals that development on Sam & Max: Freelance Police, the planned sequel to Sam & Max Hit the Road, has stopped. Says LucasArts exec Mike Nelson, 'After careful evaluation of current market place realities and underlying economic considerations, we've decided that this was not the appropriate time to launch a graphic adventure on the PC.'" The International House Of Mojo fansite has some editorial comments [original URL] on this move, the second Sam & Max game cancellation in recent years, lamenting: "LucasArts has made a gigantic mistake."

chrestomanci writes " The Register have just posted a news item about the EU IP Rights Enforcement Bill. Theres is an editorial about the issue in PC Magazine. The bill if passed would give intellectual property holders draconian powers to enforce their IP against infringers. The powers available include sending rent-a-cops to private homes, seizing assets, freezing bank accounts, and confiscating and ISP's equipment on suspicion. Any of these powers could be used against a 12-year-old file sharer, as easily as against a large scale commercial piracy operation The bill has been proposed by the French MEP Janelly Fourtou, whose husband is the the head of Vivendi Universal. She has placed the bill on a 'First Reading' track that does not allow debate, and is normally reserved for bills with near unanimous support. The deadline for amendments is today. If you are a European citizen it is time to write to your Member of the European Parliament. The final vote will be between the 8th and 11th March." (We mentioned this a few weeks ago, too.)

Thanks to the Gaming-Age messageboard regulars for pointing to an extensive feature in Mix Magazine ('Professional Audio and Music Production'), including an editorial discussing the rising importance of professional audio creators in videogames. The magazine's editor suggests: "Galaxies removed from the blips and boings of Atari's 1972 Pong or the primitive 'soundtracks' of early 1980s classics such as Donkey Kong or Mario Bros., the cheesy 8-bit music and effects have been replaced by high-quality streaming audio (16-bit/44.1kHz) with real-time, hyper-realistic Foley thunks, screams, shots and explosions that are triggered from RAM, with near-zero latency." The rest of the game audio feature also includes an in-depth look into audio at Electronic Arts, as well as articles on Ensemble Studio's audio, examples of musicians moving into game music creation, some tips for game sound designers, and the market for licensed songs in videogames.