There are a wide variety of video games out there, and yes, some are extremely violent. Same goes for movies, TV shows, and even good, old-fashioned books. If you don't want your kids playing these games (or consuming any other similar media), be a responsible parent and deal with it, but don't go playing the blame game every time some senselessly violent act occurs too close to home, crying for government regulation.
Joss Whedon reached deep down and tapped into what made the comics of the 60s and 70s so much fun, inspiring a generation of creators who were subsequently side-tracked by a misunderstanding of Alan Moore's Watchmen. It's the kind of movie DC's stable of characters (other than Batman) are best-suited for and will likely never get, and in some ways, it reminded me of the unfairly maligned John Carter (of Mars).
Licensing decisions are made well in advance of the release of a movie, so I have to wonder if this had anything to do with Burroughs' estate, what's considered public domain and who has the rights to what's not, but it's difficult to justify treating this movie like a niche play—not with a reported $250m budget on the line.
In an alternate dimension, where we're a less cynical culture and hollow crap like Avatar and The Lorax tank at the box office, John Carter would be lauded for what it is: an unapologetic, old-fashioned swashbuckling adventure for all ages.
In less than a week, I've already spent more money on PoxNora—the "free-to-play" virtual card game I raved about earlier this week—than I have on ebooks all year long. If you include all of my Steam purchases (effectively the Kindle of computer gaming) over the past six months, it's more than I've spent on ebooks ever!
I never got into Magic: The Gathering, but I did play a lot of Pokemon and VS., so the appeal of collectible card games (aka, social gaming!) isn't new to me, and Advance Wars: Days of Ruin is one of my all-time favorite games, so turn-based tactics is right up my alley, too. Combine them with an impressively deep setting, beautiful artwork, and a slick (if not totally intuitive) deck virtual management system, and you have a winner.
Not quite one year to the day it was announced, Seth Godin is shutting The Domino Project down, offering the awkward explanation that "it was a project, not a lifelong commitment to being a publisher of books," instead of, perhaps, admitting that publishing is harder than it looks if you want to swim at the deep end of the trade pool in the middle of a dramatic transition, as he obliquely acknowledges in many of his noteworthy takeaways.
Interestingly, after a brief dip in activity, I'm finding myself rejuvenated on Twitter, partly driven by my increased activity on Google+ where engagement is much higher and more substantial. Twitter surfaces the interesting content, while Google+ offers a platform to have real conversations. Facebook, meanwhile, is about 3-6 months from being completely dead to me, regardless of who continues to use it.
In light of Marvel and DC's continued inability to introduce new superheroes with diverse backgrounds, a full generation after everyone wanted to "be like Mike" and Will Smith became a bankable leading man, what does the furor over Morales say about the state of comics and their place within pop culture?
I find it somewhat ironic that, at the same time publishers are scrambling to fill ill-advised budget gaps left by their blind co-dependence on Borders, HarperCollins decides to play hardball with the one channel that offers the maximum combination of discoverability and NON-RETURNABILITY.