They should, yeah but aside from the insanely obvious how can you prove a sound is stolen? I could make a walking sound that sounds identical, prove I own it then get a soundpack using it blacklisted, even though that SP's creator legally bought the sound in a library however. How do you conclusively prove who owns what sounds though?

That doesn't really answer my question, I've got three different answers from three mods, Jade saying one thing, Aaron saying another and you saying a third thing though, and no, the last pose you did before @4 doesn't really clarify much, if at al

In this case ban Cp, and most of the games.

yeah they can't hope to enforce this fairly, and they're gonna do some things that are gonna piss a lot of people off, best to leave it the hell alone, like they should have done from the start.

Most space mud sound packs use a subset of sounds I made for Miriani under the pseudonym of Corwin Muiranheim. Can I blacklist all of those sound packs, including any sound packs currently reusing them for Miriani? I have several sounds I made for Godwars 2 that were reappropriated for Alter Aeon, so that's gotta be blacklisted, too.
What I'm essentially saying is that this is an endless rabbit hole we're going down. As I've said before, as long as people aren't making a profit from the sounds they use, and provided they're not claiming ownership or creative rights or attributing themselves as the authorized redistributors of said content, and are reusing the sounds under the auspices of fan recreation, there are certain liberties that are usually granted -- in that even big ticket companies usually look the other way.
Do I like people reusing sounds I made back in 2006? Not really. It's only an issue when they claim the sounds as their own creations, as Humanity MOO tried to do when they lifted the sounds I made for Miriani. I think that should be the real problem -- none of these sound packs are properly accrediting the sources they pulled from, thereby inadvertently subsuming the sounds as their own creations.
What others have said is right, too. If we start down this rabbit hole, we're going to have to start examining every audio game. Aside from the obvious offenders, does this game break the rule? Does that? Can I still talk about QC Game Room without analyzing its sounds? What about BK3? What about insert game name?

It's pretty daft IMO. Leave well enough alone. They're taking on things that are just not required for them to take on. It's not harming anything.

I still wonder how some of those sounds for Miriani were made. Some of them are actually just snippets of larger sounds, but others I have no idea.

This seems an opportune moment to mention how one of the big bits of negative feedback my games always got was sound quality. I initially set out to use only original sounds, but only had access to very poor microphones and recording environments. Then I bought a few small sounds, and people didn't like those, either. So I've mostly just been using a couple big soundpacks that went around several years ago, under the idea that if I actually make anything good enough, I can replace the sounds with something expensive afterward, and not a moment earlier, because why would I bother wasting the money / effort when doing so on a smaller scale has only backfired?
Good sounds are hard to come by for small teams with a shoestring budget. We either get (1) crappy sound and cheap/free games, (2) good sound and expensive games, or (3) decent but unethically sourced sounds and "free games".
We're too small and too poor, as a community, to support consistently high quality. Legal, cheap, and quality: either pick two, or someone win the lottery and invest it entirely in audio games.

VGStorm picks legal and quality, and everyone complains. I pick legal and cheap, and anyone who notices complains. Most people pick cheap and quality, and at first people didn't complain but now that's become the norm, too. Well, if I happen to wind up with $100,000,000US in the bank in the immediate future, I'll consider holding contests with cash prizes to fund projects so they might afford all three.

* OK, my fangames like Mario and JLA don't use original sounds, because they're explicitly derivative works in which sounds based on the source material are expected. Curiously, those are the ones people request links for most often.

@CAE_Jones
That just isn't true any more my friend.
Sites like Zapsplat.com, asoundeffects, or Sonniss.com make it easy to find very cheap sounds.  They provide a tagging and category system that really helps find what you need.
And of course this doesn't even count all the totally free, high quality, legally licensed resources like freesfx.co.uk, soundeffectsplus.com, Zapsplat.com again as it has a free tier, the big libraries like Adobe Audission DLC and the 5 Sonniss GDC bundles, smaller packs from places like articulated sound, soundbits, boom FX, airborn sound, and so on, or the more community driven sites like opengameart.org, freesound.org, and itch.io oddly enough, and niche sources like sound effects lab, noise for fun, or FX home.
And the same goes for music, from the big sites like incompetech, teknoaxe, soundimage, and audionautix, to the community driven sources like CCMixter, OCRemix, the free music archive, and no copyright sounds, down to the little guys like Tim Beek, Josh Woodward, or Andre Louis.

Sure it takes time and patients, but often that's only a fraction of the time spent coding the actual game, and with the resource list in the dev room as a jumping off point, things do get easier as you learn how these sites tend to work and what terms get you the best results.
Basically, there just isn't an excuse any more, people just want it easier, which I get, but then it tends to come back to bite them in the ass later on.

@defender: fair enough. I stopped bothering looking for sounds not long after the early Sonnus giveaways (some sounds from those did find their way into ECTAS, even with all the placeholders from Swamp and my awful recordings).
@ironcross: This is where I'm tempted to bring it back to money, because apparently I can't shut up about that . Idea being that yeah, trolling the archives and doing all the editing is somewhat arduous, and when I've tried that in the past, it was basically a death sentence for the project in question. So my compromise solution is to hire a sound guy, in the unlikely event I ever get both a viable project and the funding to do so. On a completely unrelated note, I'm writing this while pacing outside my house, and the repair crew left some materials lying around and I might have stumbled at one point. Would sure be nice if I could pay for that with a bonus from having to work with half staff for the past 7 months (I mean, if we're having to do the work expected of two people, shouldn't we get paid accordingly?).

Eh. Money is not the root of #agproblems. It's a generalized resource deficit. ... Crap, is there a less pretentious way to say "generalized resource deficit"? -_- Anyway, that cash / conscientiousness / charisma model has it that one can, in theory, overcome the lack of one or more by maxxing out the other(s). But if there is a straightforward way to increase conscientiousness, that is available to [strike]me[/strike] us, and does not have an untenably high startup cost, it remains elusive.

@22: I'd argue that certain clients make it super easy for this too, not that I'm looking for a client vs client war, but I can think of a few clients that make it insanely easy to just have a click and copy or paste files in