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Penny Arcade
Penny Arcade
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Penny Arcade
Author(s)Jerry Holkins
Mike Krahulik
Websitewww.penny-arcade.com
Current status/scheduleMonday, Wednesday, Friday
Launch dateNovember 18, 1998[1]
Syndicate(s)Penny Arcade, Inc.
Genre(s)Gaming, humor, satire

Penny Arcade is a webcomic focused on video games and video game culture, written by Jerry Holkins and illustrated by Mike Krahulik. The comic debuted in 1998 on the website loonygames.com.[2] Since then, Holkins and Krahulik have established their own site, which is typically updated with a new comic strip each Monday, Wednesday, and Friday. The comics are accompanied by regular updates on the site's blog.

By 2005, Penny Arcade was among the most popular and longest running webcomics online,[3][4] listed in 2010 as having 3.5 million readers.[5] Holkins and Krahulik were among the first webcomic creators successful enough to make a living from their work.[6] In addition to the comic, Holkins and Krahulik also created Child's Play, a children's charity; PAX, a gaming convention; Penny Arcade TV, a YouTube channel;[7] Pinny Arcade, a pin exchange; and the episodic video game Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness with Hothead Games and Zeboyd Games.

Overview

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Two men who are cartoonists in a subcultural convention. The man on the left is Mike Krahulik, who draws the comic. He wears glasses and a yellow T-shirt, and has stubbles. On the other hand, another man on the right is Jerry Holkins, who writes the comic. He is a bald man with glasses and a black T-shirt.
Mike Krahulik (left) and Jerry Holkins (right) at Comic-Con 2009

The strip features Krahulik and Holkins' cartoon alter egos, John "Gabe" Gabriel and Tycho Brahe, respectively. While often borrowing from the authors' experiences, Holkins and Krahulik do not treat them as literal avatars or caricatures of themselves.[8] The two characters spend much of their time playing and commenting on both computer and video games, which forms the basis of the humor in the strip. Most of the time Gabe serves the purpose of the comic and Tycho the comic foil. The strip can feature in-jokes that are explained in the news posts accompanying each comic, written by the authors.

Both Krahulik and Holkins make a living from Penny Arcade, placing them in a small group of professional webcomic artists devoted to their creations full-time. Originally, like many webcomics, Penny Arcade was supported solely by donations. A graph on the main page indicated how much people had donated that month. After hiring Robert Khoo as their business manager, Holkins and Krahulik switched to a different income stream based on advertising and merchandise revenue alone.[9] According to Holkins, the website handled more than two million pageviews daily (excluding forum traffic) in 2006.[10] On November 13, 2005, the website was redesigned[11] in celebration of their seventh year running and to match the designs of the Child's Play Charity and Penny Arcade Expo websites. Afterwards, the site has been redesigned multiple times.

Attributes of the comic strip

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As a (primarily) topical video gaming news comic, there is little plot or general continuity in Penny Arcade strips. Any story sustained for longer than a single strip is referred to as "dreaded continuity", something of a running gag in the newsposts. A character who dies a violent death in one strip will come back in the next, perfectly whole, though occasionally these deaths have an effect on later comics. For example, often, when Gabe kills Tycho or vice versa, the killer takes a certain Pac-Man watch off the dead character, but only if he currently has the watch. Profanity and violence are common in Penny Arcade and the strip is known for its surrealism; zombies, a talking alcoholic DIVX player called Div, Santa Claus, a robotic juicer called the "Fruit Fucker 2000",[12] and Jesus, among others, are known to drop in often and for petty reasons. Other such occurrences are implied, if not shown, such as mentioning Dante from Devil May Cry living in the building next door.[13] However, the comic does occasionally expand into more serious issues; one even had Krahulik, in the guise of the character Gabe, proposing to his girlfriend of two years,[14] while another had both Gabe and Tycho praising Casey Heynes for standing up to bullying.[15]

Some of the strips are drawn from the perspective of fictional characters within a game or movie. Occasionally, Gabe and Tycho are featured as they would be as characters or players in the game themselves, often having some sarcastic remark to make about some feature or bug in the game. At times the comic also depicts meetings between game developers or business people, and features or mocks the reporters of a news article that is commented on in Holkins' newspost.

Penny Arcade has a theme song, "Penny Arcade Theme", written and performed by nerdcore artist MC Frontalot. It was written as a thank-you by Frontalot for the creators of the webcomic linking his website to their front page and declaring him their "rapper laureate" in 2002. The song appears in the dance game In the Groove, released in 2004.

Protagonists

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Jonathan "Gabe" Gabriel

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Mike Krahulik's comic alter ego is energetic and free-spirited, but has a propensity to become extremely angry. As a contrast to Tycho's expansive vocabulary, Gabe usually speaks using only simple, common words. He almost always wears a yellow Pac-Man shirt, and has a Pac-Man tattoo on his right arm.[16][17] His eyes are a shade of slate blue.

He has a fascination with unicorns, a secret love of Barbies, is a dedicated fan of Spider-Man and Star Wars, and has proclaimed "Jessie's Girl" to be the greatest song of all time. He has a wife and son.[18] Gabe is a diabetic, though he continues to consume large quantities of sugar products.[19]

Krahulik named his son "Gabriel" in honor of the character.[20]

Tycho Brahe

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Jerry Holkins' comic alter ego (named after the astronomer Tycho Brahe) is bitter and sarcastic. His eyes are burnt sienna, and he's almost invariably clad in a blue-striped sweater. Tycho enjoys books, role-playing video games, using large and uncommon words in conversation, and deflating Gabe's ego. He is an enthusiastic fan of Harry Potter[21] and Doctor Who.[22] He also plays Dungeons & Dragons often (the website's previous banner illustrated him holding a 20-sided die), and adopts a wildly theatrical style when acting as a dungeon master.

Tycho occasionally makes reference to his scarring childhood, during which his mother physically abused him.[23] Tycho also has a drinking problem.[24]

In Poker Night at the Inventory, Tycho is voiced by Kid Beyond.[25]

Podcast

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Krahulik and Holkins had a podcast that they produced from 2006 until 2018, releasing new episodes irregularly. They began to record and release audio content on March 20, 2006, titled Downloadable Content. The podcasts specifically captured the creative process that goes into the creation of a Penny Arcade comic, usually starting with a perusal of recent gaming news, with conversational tangents and digressions to follow. As well as being a behind-the-scenes look at the creation of Penny Arcade, Krahulik and Holkins discussed possible subjects for the comic.

The format of the show was mostly "fly-on-the-wall" style, in that the hosts rarely acknowledged the existence of the microphone. There was no theme music, intro, or outro. The podcasts were of varying lengths, beginning abruptly and ending with the idea for the current comic. New episodes were released irregularly, with six month gaps not uncommon.

Although the shows were initially published weekly, Holkins stated in a May 2006 blog post that they found difficulties when trying to produce the podcasts on a regular basis. The duo planned to keep recording podcasts occasionally.[26]

Since airing the first episode of the new PATV in February 2010, the podcast has not been updated. A new segment has since appeared on PATV called "The Fourth Panel," which presents a fly-on-the-wall look at comics creation much as the podcast did.

On May 8, 2013 Penny Arcade launched a Kickstarter campaign to fund the continuation of Downloadable Content.[27] The kickstarter was successful, with new Podcasts being added each Wednesday. Downloadable Content is "currently on hiatus," with the latest episode dated August 23, 2018.[28][29]

Games

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Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness is an episodic video game based on the strip. The first two episodes were developed by Hothead Games, and were built on a version of the Torque Game Engine. The first episode was released worldwide on May 21, 2008, and the second on October 29, 2008. They were self-published via the PlayStation Network and Xbox Live as well as the PlayGreenhouse.com service created by Penny Arcade to distribute independent games.[30] The game features many elements of the Penny Arcade universe in a 1920s steampunk setting. In 2010, Krahulik and Holkins announced that the remainder of the series had been cancelled, to allow Hothead to focus on other projects.[31] At PAX Prime 2011, however, it was announced that the series would be revived and developed by Zeboyd Games, with a retro style similar to Zeboyd's past titles.[32] The third episode was released on Steam and on Penny Arcade's web store June 25, 2012.[33] The fourth and final episode was announced in January 2013,[34] and released to Steam and Xbox Live in June 2013.

A teaser trailer released by Telltale Games on August 28, 2010, revealed that Tycho would appear in an upcoming game alongside Team Fortress 2's Heavy, Homestar Runner's Strong Bad and Sam & Max's Max. The game, called Poker Night at the Inventory, was released on November 22, 2010.[35] A remaster is scheduled for release on March 5, 2026.[36]

Two stories that were published on the site were released as motion comics for iOS developed by SRRN Games, "The Last Christmas" in 2010 and "The Hawk and the Hare" in 2011.[35][37]

The 2008 North American release of Tekken 6 has a skin for Yoshimitsu based on the Cardboard Tube Samurai.[38] In 2012, an official DLC skin pack was released for Dungeon Defenders featuring Tycho, Cardboard Tube Samurai Gabe, Annarchy and Jim Darkmagic skins.[39]

Cryptozoic Entertainment released the licensed deck-building card game Penny Arcade The Game: Gamers Vs. Evil in 2011, and followed it with the expansion pack Penny Arcade The Game: Rumble in R'lyeh in 2012.[40] Playdek released a digital conversion of Penny Arcade The Game: Gamers Vs. Evil for iOS in 2012.[41]

Penny Arcade: The Series

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Penny Arcade: The Series first aired online on February 20, 2010. It is a multi-season documentary series based on the exploits of the Penny Arcade company and its founders Krahulik and Holkins.[42] The last episode of the series was posted in September 2015.[43]

Other works

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Penny Arcade Presents

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Under the banner of "Penny Arcade Presents", Krahulik and Holkins are sometimes commissioned to create promotional artwork/comic strips for new video games, with their signature artistic style and humor. They are usually credited simply as "Penny Arcade" rather than by their actual names. Some of these works have been included with the distribution of the game, and others have appeared on pre-launch official websites. An official list could be found on the Penny Arcade website.[44] The last of these commissions was posted in 2012.[45]

Collectible Card Game

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On August 8, 2005, Krahulik announced that Penny Arcade, in partnership with Sabertooth Games, would be producing a collectible card game based on the Penny Arcade franchise.[46] The resulting Penny Arcade "battle box" was released in February 2006 as part of the Universal Fighting System.

There are also a few spinoffs from the main comic that have gained independent existences. An example is Epic Legends Of The Hierarchs: The Elemenstor Saga (ELotH:TES), a parody of the written-by-committee fantasy fiction used as back-story for a wide variety of games: originally a one-off gag in the Penny Arcade comic, in late 2005 this was expanded into a complete fantasy universe, documented on a hoax "fan-wiki".[47] ELotH:TES first appeared in the webcomic of February 7, 2005, and has subsequently been featured in the comics of November 7, 2005 and November 30, 2005. Several elements of the ELotH:TES universe are featured on the cover of their second comics collection, Epic Legends of the Magic Sword Kings.

ESRB ad campaigns

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On May 31, 2006 Krahulik announced a new advertising campaign for the Entertainment Software Rating Board.[48] According to Krahulik, the ESRB "wanted a campaign that would communicate to gamers why the ESRB is important even if they don't think it directly affects them." Among the reasons he listed for Penny Arcade's accepting the job was that he and Holkins are both fathers and are concerned about the games their children might play. The ad campaign was rolled out in the summer and fall of 2006 and a second campaign was released in 2012 featuring a mother, a father and a gamer describing the tools employed by the ESRB.[49]

Acquisitions Incorporated

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In 2008, the creators of Penny Arcade partnered with Wizards of the Coast to create a podcast of a few 4th Edition Dungeons & Dragons adventures which led to the creation of the Acquisitions Incorporated.[50][51][52] After the podcast was well-received, the players began livestreaming games starting in 2010 at the PAX festival.[50]: 108 [53] In 2012, Acquisitions Incorporated switched to 5th Edition Dungeons & Dragons as their game system with the Forgotten Realms as their new campaign setting.[54] Academic Emily Friedman commented that many incorrectly attribute Acquisitions Incorporated as the start of the actual play genre.[55] Acquisitions Incorporated went on to be described by Inverse in 2019 as the "longest-running live play game".[56]

Friedman, writing for Polygon, noted that "these shows became more elaborate over time, moving from two cameras in a hotel ballroom to a livestreamed multi-camera setup with costumed players at PAX Prime in 2012".[57] Prerecorded, edited actual play series, such as AI: The Series (2016–2017) and The "C" Team (2017–2021), were also released.[57][58] In 2019, this work led to the official Acquisitions Incorporated sourcebook featuring the series' concept and characters.[56][59] In 2023, the series switched to Greyhawk as their campaign setting.[54] At PAX Unplugged 2025, Acquisitions Incorporated Daggerheart was announced. The series will be rebooted with a new campaign and setting and will use Daggerheart instead of Dungeons & Dragons as its tabletop role-playing game.[60][54] Francesco Cacciatore of Polygon commented that while there have been many changes to Acquisitions Incorporated since its launch in 2008, including "only Penny Arcade duo Jerry Holkins and Mike Krahulik remaining from the original cast, the brand never lost its identity or its connection to its fanbase. Rather than using the switch to Daggerheart to start from scratch, they went to great lengths to ensure that this fit into the continuity of the show".[54]

The New Kid film script

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Announced on June 2, 2011, Paramount Pictures had acquired the rights to produce an animated film, via Paramount Animation to make this, of the one-off strip The New Kid which was published on October 29, 2010. The strip was one of three mini-strips which featured a cinematic opening to a larger story left unexplored.[61] The New Kid is about a boy who's moving to a new planet with his family because of his father's career.[62] The script was written by Gary Whitta and would have been produced by Mary Parent and Cale Boyter.[63]

At PAX Australia in 2016, during a Q&A session, Holkins revealed that changes at Paramount resulted in the movie rights being returned to Penny Arcade and the project canceled. He did note, however, that Whitta's script was complete and the project could move forward with another production company in the future.[64]

The Trenches

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The Trenches was a 2011-2015 comic series by Krahulik and Holkins in collaboration with webcomic PvP's creator Scott Kurtz. The comic followed a man named Issac and his life as a game tester. The series was launched on August 9, 2011 and featured new strips every Tuesday and Thursday,[65] usually accompanied by a "Tale from the Trenches", which was a short piece submitted by a reader detailing their own experiences in the game industry.

In September 2012, Kurtz stopped illustrating the webcomic, due to lack of time, and was replaced by Mary Cagle, a former intern of his, and the creator of the webcomic Kiwi Blitz. Kurtz still continued to collaborate with Krahulik and Holkins in writing the comic.[66] In late August 2013, illustration was taken over by Ty Halley (Secret Life of a Journal Writer) and Monica Ray (Phuzzy Comics), former contestants of the Penny Arcade series Strip Search.

The Trenches was ultimately abandoned. The last comic was posted January 5, 2016, while the last Tales is from September 10, 2015.

The Decideotron

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In 2011, Krahulik and Holkins released an application for iOS devices called The Decide-o-tron, presented by Eedar and developed by The Binary Mill.[67][68] The app worked as a recommendation engine for video games; users would input games they'd enjoyed and the app attempted to predict their ratings of titles they had not yet played.[69] Holkins described it as "Pandora for games".[67] By 2014, the decideotron.com website was dead.[70]

Kickstarter

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In 2012, Penny Arcade created two Kickstarter projects. The first, in July 2012, was the Penny Arcade's Paint the Line card game which was used as an alternative to pre-ordering it and came with an exclusive comic.[71][72] 259 backers pledged $9,025 to this project.[71] The second, running from July to August 2012, was entitled Penny Arcade Sells Out and was intended to replace advertising revenue with crowd funding. The leaderboard ad on the home page of Penny Arcade would be removed if the minimum goal of $250,000 were reached, whereas the entire site would become completely ad-free for a year at $999,999.[73][74] 9,069 backers pledged $528,144 to the project.[73] The reality web series described as "our version of America's Next Top Webcomic" titled Strip Search arose from the $450,000 stretch goal.

I Come in Peace, With Console Advice

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Krahulik and Holkins created a comic strip which compares the 7th generation consoles that appears in the December 2006 issue of Wired magazine.[75]

Penny Arcade events

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Every Christmas since 2003, Penny Arcade hosts a charity called Child's Play to buy new toys for children's hospitals. As of 2025, Child's Play had processed over $67 million in donations since its inception.[76] They have also sponsored a three-day gaming festival called the Penny Arcade Expo, later renamed to PAX, every August since 2004.

[edit]

Strawberry Shortcake

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Krahulik and Holkins received a cease-and-desist letter from American Greetings Corporation over the use of American Greetings' Strawberry Shortcake and Plum Puddin' characters in the April 14, 2003 Penny Arcade strip entitled "Tart as a Double Entendre".[77][78][79][80]

The duo chose not to enter into a legal battle over whether or not the strip was a protected form of parody, and they complied with the cease-and-desist by replacing it with an image directing their audience to send a letter to a lawyer for American Greetings.[78][81] They later lampooned the incident by portraying an American Greetings employee as a Nazi.[78][82]

Jack Thompson

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On October 17, 2005 Krahulik and Holkins donated US$10,000 to the Entertainment Software Association foundation in the name of Jack Thompson, a disbarred attorney and activist against violence in video games.[83] Earlier, Thompson himself had promised to donate $10,000 if a video game was created in which the player kills video game developers (A Modest Video Game Proposal),[84] but after a mod to the game Grand Theft Auto was pointed out to already exist, Thompson called his challenge satire (referring to the title of the letter as a reference to "A Modest Proposal") and refused to donate the money.[85] He claimed these games were not going to be manufactured, distributed, or sold like retail games, as his Modest Proposal stated, and therefore, the deal went unfulfilled. His refusal was met with disdain, given that multiple games were created or in the process of being created under Thompson's criteria. Krahulik and Holkins donated the money in his place, with a check containing the memo: "For Jack Thompson, Because Jack Thompson Won't".

Thompson proceeded to phone Krahulik, as related by Holkins in the corresponding news post.[86]

On October 18, 2005 it was reported that Jack Thompson had faxed a letter to Seattle Police Chief Gil Kerlikowske claiming that Penny Arcade "employs certain personnel who have decided to commence and orchestrate criminal harassment of me by various means".[87][88] Holkins defended the site by saying that the "harassment" Thompson referred to was simply "the natural result of a public figure making statements that people disagree with, and letting him know their thoughts on the matter via his publicly available contact information".[89]

On October 21, 2005 Thompson claimed to have sent a letter to John McKay, U.S. Attorney for the Western District of Washington, in an attempt to get the FBI involved. Thompson re-iterated his claims of "extortion" and accused Penny Arcade of using "their Internet site and various other means to encourage and solicit criminal harassment".[90] Penny Arcade denied the charge of "extortion", noting that they paid the $10,000 to charity, and asked nothing in return.[91]

Thompson claimed the harassment of him is a direct result of Mike Krahulik's posts, which listed links to the Florida Bar Association. Thompson accused Penny Arcade of soliciting complaints to the Bar against him, even though Krahulik actually posted the opposite, asking fans to cease sending letters to the Bar, as the Bar acknowledged that it is aware of Thompson's actions, thanks to previous letters.[92]

The Seattle PD eventually acknowledged receiving a complaint from Thompson, but have commented that they believe the issue to be a civil, rather than criminal, matter. They noted that this was from initial impressions of the letter they received, and their criminal investigations bureau is reviewing the letter to make sure that there were not any criminal matters that they missed.[93]

On the same day, Scott Kurtz, creator of the webcomic PvP (webcomic) and a longtime friend of Krahulik and Holkins, used the image of the letter Thompson sent to the Seattle PD to create a parody letter in which Jack attempts to enlist the aid of the Justice League of America by claiming Gabe and Tycho to be villains of some description.[94]

The Penny Arcade shop had at the time sold an "I hate Jack Thompson" T-shirt, claiming that every living creature, including Thompson's own mother, hates Jack Thompson.[95]

On March 21, 2007 Thompson filed a countersuit to the lawsuit brought against him by Take Two Interactive claiming that they are at the center of a RICO conspiracy. Penny Arcade was named as one of the co-conspirators.[96][97] At Sakura-Con 2007, Krahulik announced that the suit had been dropped.[98]

Dickwolves controversy

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In an August 11, 2010 comic entitled "The Sixth Slave", an NPC pleads with a player who then refuses to save him: "Every morning, we are roused by savage blows. Every night, we are raped to sleep by the dickwolves".[99] The strip drew criticism from many commentators, including from The American Prospect and The Boston Phoenix. Krahulik and Holkins dismissed these criticisms, later selling "Team Dickwolves" T-shirts based on the strip.[100][101][102] They later removed the "Team Dickwolves" shirt from their store due to complaints that it made potential PAX attendees uncomfortable. After the removal, Krahulik posted online that removing the shirts was only partly caving to pressure but mainly due to people who had personally emailed him and were reasonable with their concerns. Krahulik also stated that anyone still hesitant about going to PAX even after removal of the shirts should not come to PAX.[103] In September 2013, on the last day of PAX, Krahulik told a panel that he thought that "pulling the dickwolves merchandise was a mistake", to cheers from the crowd.[104] However, Krahulik later apologized on the Penny Arcade website, stating that he regretted contributing to the furor that had followed the original comic.[105] Both critics of the comic strip and Krahulik and Holkins, made claims of receiving verbal abuse through social media and death threats.[106]

In a 2012 article in the Journal of Broadcasting & Electronic Media, academics Salter & Blodgett used the Dickwolves incident as a case study into "hypermasculinity and sexism within the gaming community", and argued that "this case highlights how the hypermasculine discourse encourages the overt privileging of masculinity over femininity and discourages women from engaging in gendered discourse within the community."[107]

"Greater Internet Fuckwad Theory"

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Greater Internet Fuckwad Theory

"John Gabriel's Greater Internet Fuckwad Theory" was posted in the Penny Arcade strip published March 19, 2004. It regards the online disinhibition effect, in which Internet users exhibit unsociable tendencies while interacting with other Internet users. Krahulik and Holkins suggest that, given both anonymity and an audience, an otherwise regular person becomes aggressively antisocial.[108] In 2013, Holkins gave the corollary that "Normal Person - Consequences + Audience = Total Fuckwad".[109]

Clay Shirky, an adjunct professor at New York University who studies social and economic effects of Internet technologies, explains: "There’s a large crowd and you can act out in front of it without paying any personal price to your reputation,” which "creates conditions most likely to draw out the typical Internet user’s worst impulses."[110] In an Advocate article about online homophobia, this theory was used to account for behavior on online forums where one can remain anonymous in front of an audience: for instance, posting comments on popular YouTube videos.[110]

Collected editions

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  • Year One: A Penny Arcade Retrospective (Limited Edition) — ISBN 1-931195-07-2
  • Year One: A Penny Arcade Retrospective (Soft Cover) — ISBN 1-931195-11-0
  • Year One: A Penny Arcade Retrospective (Hard Cover) — ISBN 1-931195-12-9
  • Penny Arcade, Volume 1: Attack of the Bacon RobotsISBN 1-59307-444-1
  • Penny Arcade Limited Edition Signed – Attack Of The Bacon RobotsISBN 1-59307-650-9
  • Penny Arcade, Volume 2: Epic Legends Of The Magic Sword KingsISBN 1-59307-541-3
  • Penny Arcade, Volume 3: The Warsun PropheciesISBN 1-59307-635-5
  • Penny Arcade, Volume 4: Birds Are WeirdISBN 1-59307-773-4
  • Penny Arcade, Volume 5: The Case of the Mummy's GoldISBN 1-59307-814-5
  • Penny Arcade, Volume 6: The Halls Below (Limited Edition) - ISBN 978-0-307-29185-1
  • Penny Arcade, Volume 6: The Halls Below (Soft Cover) — ISBN 0-345-51227-8
  • Penny Arcade, Volume 7: Be Good, Little PuppyISBN 978-0-345-51228-4
  • Penny Arcade, Volume 8: Magical Kids in DangerISBN 978-1-620-10006-6
  • Penny Arcade, Volume 9: Passion's HowlISBN 978-1-620-10007-3
  • The Splendid Magic of Penny Arcade: The 11.5 Anniversary Edition (Hardcover) — ISBN 978-0-345-51226-0
  • Penny Arcade, Volume 10: The Fall of Penny ArcadeISBN 978-0-997-16190-8

Reception

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On December 13, 2006, Next Generation Magazine rated Krahulik and Holkins among its "Top 25 People of the Year".[111] Also appearing on the list were Nintendo of America President Reggie Fils-Aimé and former Xbox corporate vice-president Peter Moore. Krahulik made a post about the honor, in which he explained that Penny Arcade was created only because Next Gen rejected the duo's entry to a comic contest many years before.[112] Entertainment Weekly listed Penny Arcade on their "100 Sites to Bookmark Now," calling it "a hilarious and smart webcomic for gamers."[113] MTV Online named Holkins and Krahulik two of the world's most influential gamers, saying "they have become the closest the medium has to leaders of a gamers' movement."[114] Time.com named Penny Arcade as one of its "50 Best Websites" for 2008 "...for the way it pokes fun at the high-tech industry and the people who love it."[115] 1UP.com described it as "the One True Gaming Webcomic."[3] Penny Arcade was used along with American Elf, Fetus-X, and Questionable Content as an example of comics using the web to create "an explosion of diverse genres and styles" in Scott McCloud's 2006 book Making Comics.[116]

Awards and recognition

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On March 5, 2009, the Washington State Senate honored Holkins and Krahulik, both originally from Spokane, for the contribution that they had made to the state, the video game industry, and to children's charities from around the world courtesy of their Child's Play initiative.[117] Later in March, Penny Arcade won the category "Best Webcomic" in the fan voted Project Fanboy Awards for 2008.[118]

In 2010, Holkins, Krahulik, and Khoo were awarded the annual "Ambassador Award" at GDC's Game Developers Choice Awards for contributions they had made to the industry.[119] The same year, Time included Holkins and Krahulik in the annual "Time 100", the magazine's listing of the world's 100 most influential people.[120]

In July 2015, Holkins and Krahulik were recognized as "Multimedia Empire Builders" in Ad Week's 10 Visual Artists Changing the Way We See Advertising issue.[121]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Penny Arcade is a webcomic strip centered on video game culture and geek interests, created by writer Jerry Holkins and illustrator Mike Krahulik, who debuted the series on November 18, 1998. The comic follows the misadventures of protagonists Gabe (Krahulik's avatar) and Tycho (Holkins's avatar), delivering irreverent humor through three weekly updates that satirize gaming trends, industry events, and online behavior. Its enduring appeal stems from sharp commentary on the medium's evolution, amassing a dedicated readership that has influenced gaming discourse since its inception. Beyond the strip, Penny Arcade expanded into major initiatives, including the founding of the Penny Arcade Expo (PAX) in 2004 as a dedicated gaming convention to celebrate the medium without broader pop culture dilution. Starting with around 3,300 attendees in , PAX has grown into multinational events drawing hundreds of thousands, emphasizing community, panels, and expos while fostering a prioritizing amid passionate . In 2003, the creators launched , a charity delivering video games and toys to pediatric hospitals worldwide to counter media stereotypes of gamers and demonstrate the therapeutic value of play, raising millions annually through auctions and donations. The series has defined characteristics including unfiltered satire, as exemplified by the "Greater Internet Fuckwad Theory" strip positing that normal individuals devolve into antagonists online due to anonymity and audience dynamics, a concept widely referenced in discussions of internet toxicity. However, its edgy content has sparked controversies, such as the 2010 "Dickwolves" strip critiquing game quest mechanics, which drew accusations of insensitivity toward sexual assault survivors; the creators defended the humor as contextual exaggeration but ceased merchandise sales amid pressure, highlighting tensions between artistic intent and audience expectations. Similar backlash occurred over terminology in a 2013 post on gender, prompting an official correction, underscoring Penny Arcade's role in navigating evolving cultural sensitivities within gaming communities.

History

Founding and Early Development

Penny Arcade debuted on November 18, 1998, when writer and artist published the first strip, "The SIN of Long Load Times," initially hosted on loonygames.com. The comic emerged as a project amid the early boom, focusing on satirical commentary about PC gaming news and trends, including frustrations with software like extended loading screens in massively multiplayer online games. The strip rapidly expanded its audience through word-of-mouth sharing in gaming forums and communities, establishing Penny Arcade as one of the earliest sustained centered on before the term "webcomic" gained widespread use. This organic growth reflected the era's limited digital distribution channels, relying on enthusiast networks rather than formal promotion. In its formative phase, Penny Arcade confronted typical early hurdles, including the scarcity of viable revenue streams in an undeveloped online content landscape, prompting dependence on voluntary fan donations and eventual ad integrations for sustainability while maintaining weekly updates.

Expansion and Key Milestones

In 2003, Penny Arcade expanded beyond webcomic production by launching an official online store offering merchandise such as T-shirts featuring comic designs. This initiative capitalized on growing fan interest in video game culture, providing apparel and goods tied to the strip's satirical elements. Concurrently, creators Jerry Holkins and Mike Krahulik established the Child's Play charity in 2003 to donate toys and games to children's hospitals, partly in response to public criticisms of the gaming industry amid legal challenges from figures like Jack Thompson. The Penny Arcade Expo (PAX) debuted on August 28–29, 2004, in , at the Meydenbauer Center, attracting around 2,400 attendees as a fan-focused alternative to corporate-dominated events like E3. Initially organized independently by Holkins and Krahulik, PAX emphasized community-driven programming, showcases, and tabletop gaming, filling a niche for accessible conventions amid declining enthusiast appeal at larger trade shows. By 2010, expansion accelerated with the launch of PAX East on March 26–28 in , , drawing over 65,000 participants and marking the event's shift toward multi-city operations through partnerships like with Reed Exhibitions. Further growth in the 2010s included PAX Australia in starting 2013, PAX South in from 2015 (discontinued after 2019), and adaptations like PAX Unplugged in for tabletop focus from 2017. Penny Arcade maintained consistent weekly comic production through digital platforms into 2025, adapting to shifts like the rise of indie games and console competition by integrating event tie-ins without altering core output frequency. Post-2020 disruptions, PAX events stabilized with in-person returns, including PAX East from May 8–11, 2025, in and PAX West over weekend in , underscoring the brand's resilience after 25 years since 1998. Key milestones encompassed surpassing two decades of operations by 2018, navigating industry booms in mobile and streaming gaming, and leveraging PAX for business diversification into global conventions serving hundreds of thousands annually.

Creators and Characters

Jerry Holkins as Tycho Brahe

Jerry Holkins, born February 6, 1976, serves as the writer and co-creator of the Penny Arcade webcomic alongside artist , with the strip launching in 1998. Holkins contributes the textual content, including dialogue and accompanying news posts that provide extended commentary on gaming topics. He operates under the pseudonym , which doubles as the name of his primary character in the comic, portraying an intellectual gamer archetype. The Tycho character encapsulates Holkins' writing style, marked by verbose, elaborate prose that blends satire with detailed analysis of video game culture. This approach draws from Holkins' tendency to infuse commentary with literary flourishes, such as embedded poems or songs, while dissecting industry developments through pragmatic lenses that prioritize observable outcomes over promotional narratives. Tycho's persona reflects Holkins' real-life role in generating content that challenges overhyped expectations, as seen in critiques where he contrasts traditional genre conventions against contemporary production realities, noting profound misalignments in areas like role-playing game design. Over time, Holkins has extended Tycho's voice beyond the comic into podcasts and live events, such as those at PAX conventions, where he delivers candid assessments of evolving gaming trends and cultural dynamics without dilution. This consistency underscores a commitment to unvarnished evaluation, often emphasizing practical consequences of industry decisions on player experiences.

Mike Krahulik as Jonathan Gabriel

Michael Krahulik, born September 25, 1977, serves as the artist for the webcomic Penny Arcade, drawing its strips since its inception in 1998. A self-taught illustrator with roots in high school sketching, Krahulik developed his skills through persistent practice rather than formal training, initially producing rudimentary panels that evolved into more refined work. His artistic approach draws influence from cartoonist Stephen Silver, emphasizing expressive, cartoony depictions suited to satirical commentary on gaming. In Penny Arcade, Krahulik embodies himself as Jonathan "Gabe" Gabriel, a character who channels impulsive, visceral reactions to absurdities. Gabe often appears in exaggerated states of frustration with mechanics like challenging controls or repetitive quests, visually amplifying the of gaming mishaps through dynamic poses and facial contortions. This portrayal mirrors Krahulik's own gaming enthusiasm, positioning Gabe as the reactive counterpart to his writing partner ' more verbal , with Gabe's actions driving the strip's punchlines through bodily humor rather than dialogue. Krahulik's technical proficiency advanced markedly from the comic's , transitioning from simple, sketch-like panels to intricate parodies featuring detailed recreations of assets and hardware. This growth enabled more elaborate visual , such as precise renderings of consoles and in-game elements that grounded abstract gaming critiques in recognizable forms. Controversies in the late 2000s and 2010, including the 2010 "dickwolves" strip—a satirical jab at quest rewards in —highlighted tensions over his unapologetic style, where Krahulik defended retaining the artwork against demands for removal, arguing it preserved the comic's authentic edge without external sanitization. Critics from progressive gaming circles labeled it insensitive, yet Krahulik maintained it reflected unfiltered cultural observation, underscoring his commitment to empirical, unaltered depictions over stylized concessions. Beyond the strips, Krahulik contributes to Penny Arcade's merchandise and event visuals, designing apparel and promotional art that prioritize literal representations of gaming hardware and icons, such as controllers and convention motifs, to foster direct fan connection. His work for Penny Arcade Expo (PAX) events similarly emphasizes concrete visuals of gaming ephemera, avoiding to capture the tangible chaos of enthusiast gatherings. This focus on veridical portrayal reinforces role as an authentic stand-in for the gamer's raw, unmediated experience.

Recurring Elements in the Comic

Recurring supporting figures in the comic include Annarchy, Tycho's niece portrayed as a precocious ; Carl the Exterminator; and whimsical entities like the Deep and the duo Twisp & Catsby, often featured in extended storylines blending gaming motifs with absurdity. These elements draw from subcultural archetypes, such as non-player character (NPC) proxies or exaggerated industry personas, to mirror repetitive and developer dynamics without deep narrative continuity. Satirical tropes recurrently target MMO gameplay tedium, including endless grinding for loot or progression, as observed in parodies of titles like that capture the frustration of repetitive quests and raids based on creators' direct playthroughs. Console exclusivity forms another staple, lampooned in strips critiquing platform-tied content deals that fragment player bases, exemplified by the January 26, 2005, comic emphasizing their divisive "flavour." Fan behaviors, such as tribal console loyalties, are depicted through observational jabs at "wars" between platforms, rooted in historical rivalries like Sega versus . Reactions to real-world events like announcements provide timely motifs, with strips distilling keynote hype into digestible on hardware reveals and game demos, as in the 2010 coverage synthesizing major publisher briefings. Meta-features, including reader-influenced polls, occasionally integrate community input to decide directions, reflecting interactive aspects of gaming subcultures. The overall approach maintains detached humor, prioritizing empirical absurdities from lived gaming experiences over didactic messaging.

Core Content: The Webcomic

Format, Style, and Production

Penny Arcade utilizes a standard three-panel structure for each strip, a format established at its inception on November 18, 1998, combining written narration from the character Tycho with visual artwork by Gabe. This setup facilitates concise delivery of commentary on video game culture, with Holkins scripting dialogue and exposition while Krahulik renders illustrations that reference specific games or tropes for immediate recognition. The comic maintains a thrice-weekly update schedule—Monday, Wednesday, and Friday—a rhythm upheld through 2025 via consistent output from the two-person team, enabling timely responses to industry events without reliance on external editorial oversight. The artwork employs a cartoonish style characterized by exaggerated features and expressive poses, yet incorporates sufficient detail in backgrounds and props to evoke precise gaming references, prioritizing communicative clarity over refined polish. Krahulik initially produced strips using traditional sketches and micron inking, scanned for digital coloring; around 2003, he transitioned to full digital workflows with a tablet, streamlining revisions and enhancing efficiency for the rapid production cycle. This evolution reflects adaptation to digital tools common in webcomics, allowing the duo to sustain high-volume output while retaining a hand-drawn aesthetic that underscores the strip's informal, insider perspective. Production remains a direct collaboration between Holkins and Krahulik, with scripts drafted to capture unvarnished observations and artwork executed in a single session to preserve spontaneity, diverging from the multi-stage revisions typical in . Minimal editing preserves the raw authenticity of their commentary, aligning with an approach that favors immediate, evidence-based critique of gaming trends over stylized narratives.

Themes and Satirical Focus

Penny Arcade's centers on the gaming industry's tendency to generate excessive around product launches, often leading to consumer disillusionment when expectations are unmet. This is exemplified in critiques of titles like , which, despite aggressive marketing as a revolutionary online shooter, achieved only 2 million units sold in its first week and 5 million lifetime, falling short of ' benchmarks due to persistent technical flaws, repetitive gameplay, and insufficient endgame content. The underscores causal factors such as rushed development cycles and overreliance on live-service models without robust foundational , positioning gamers as rational agents wary of corporate promises that prioritize short-term revenue over sustainable quality. A prominent target of ridicule is manipulative practices, particularly es, which Holkins has likened to behavioral conditioning mechanisms exploiting variable reward schedules akin to those in experiments. In commentary on Star Wars Battlefront II, he expressed immediate disappointment with es that gate progress behind randomized purchases, framing them as disincentives to core gameplay enjoyment rather than enhancements. This roots in economic realities where publishers leverage psychological hooks to extract ongoing payments, eroding player agency and fostering addiction-like patterns without delivering commensurate value, as seen in legislative discussions where industry representatives struggled to clarify value propositions. The comic also dissects player behaviors, notably through John Gabriel's Greater Internet Fuckwad Theory, which posits that ordinary individuals devolve into antagonistic trolls when online intersects with an audience, a dynamic prevalent in gaming forums and multiplayer environments. This framework causally attributes toxicity not to inherent gamer malice but to reduced accountability in digital spaces, amplifying disruptive actions like griefing or flame wars that undermine community cohesion. Penny Arcade defends gaming's role as an unapologetic outlet for , including edgy or violent content, against narratives portraying it as socially corrosive. Holkins argues that violent video games represent a minor facet of adult media consumption and warrant First Amendment protections, rejecting empirical links to real-world in favor of viewing them as cathartic fiction. This stance counters sanitized critiques by emphasizing games' capacity to provide immersive, consequence-free agency, free from moralistic overreach that ignores players' discernment.

Media Expansions

Podcast: Penny Arcade

The Penny Arcade podcast, titled , records unscripted discussions between creators and as they brainstorm ideas for the webcomic. Launched in 2006, it captures their conversational process, which often extends beyond comic scripting to include banter on news, recent playthroughs, industry developments, and personal digressions. Episodes typically last 20 to , emphasizing raw, real-time reactions that mirror the comic's candid satirical edge. This format provides listeners with insights into the duo's thought processes, frequently addressing current gaming trends and events as they occur during the creative session. For instance, conversations delve into specific game releases, developer announcements, and market observations, offering unfiltered perspectives grounded in their direct experiences. The podcast produced 281 episodes across 10 seasons, released several times per week during active periods, before entering hiatus. While primarily featuring Holkins and Krahulik, the series occasionally incorporates broader topics that inform content, maintaining a focus on authentic over . Its has been minimal in format, prioritizing the in-studio creative flow, though production paused amid later challenges; no verified shifts to remote recording specifically for this post-2020 are documented. The emphasis remains on depth through extended tangents, fostering a sense of immediacy in responding to the gaming industry's dynamics.

Television: Penny Arcade: The Series

Penny Arcade: The Series is a documentary-style production chronicling the daily operations, creative workflow, and industry engagements of the Penny Arcade webcomic team, centered on writers and illustrator . Launched on November 23, 2009, the series employs a reality format to depict the intersection of their personal and professional lives with , including preparations for events like the Penny Arcade Expo (PAX). Filmed primarily in Seattle, Washington, it spans episodes from 2009 to 2014, produced by as an episodic exploration blending behind-the-scenes access with voyeuristic elements of comic production. The pilot consists of two parts introducing the core duo's dynamics, followed by installments such as "," detailing their workspace; "The Process," examining comic ideation and execution; and event-specific content like coverage of PAX Prime 2009, which highlights logistical challenges and fan interactions at gaming conventions. These episodes prioritize empirical of the creative routine— from scripting satirical strips to managing feedback—over scripted , offering viewers unfiltered glimpses into the empirical realities of sustaining a prominent amid industry pressures. The format's strength lies in its candid portrayal of the iterative, often chaotic process underlying the comic's output, substantiated by direct footage of Holkins and Krahulik's collaborations, which reveal causal links between real-time events and content generation. While the series effectively documents authentic operational empirics, such as deadline-driven artistry and event coordination, its constraints inherently curtail the webcomic's hallmark satirical depth, as live-action favors procedural realism over the abstracted of gaming tropes found in the strips. Episodes available on platforms like preserve this material as an archival resource, providing verifiable insights into Penny Arcade's evolution without reliance on retrospective narratives. The production concluded around 2014, with no attributed failure in content reception but aligned with shifts in distribution rather than network-driven cancellation.

Video Games and Interactive Works

Penny Arcade produced the series Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness, which features the webcomic's protagonists, Jonathan Gabriel (Gabe) and , as playable characters in a extending the comic's lore of eldritch threats and gaming . The series blends point-and-click adventure mechanics for puzzle-solving and exploration with turn-based RPG combat, incorporating comic cameos and in-jokes for fidelity to the source material's irreverent tone and character dynamics. Episode One, developed and published by , launched on May 21, 2008, for Windows, macOS, , and , with a port following on October 23, 2008. Episode Two released on October 29, 2008, maintaining the episodic structure with linear progression through story-driven quests rather than open-world freedom, which some players noted limited replayability compared to broader RPG designs. Hothead Games handled the first two episodes, emphasizing scripted encounters and dialogue true to the comic's verbose, pop-culture-infused style, though the fixed narrative paths prioritized humor and cameos over emergent gameplay. Zeboyd Games developed Episode Three, released on June 25, 2012, for Windows, macOS, , and , refining combat with more tactical depth while retaining linearity. Episode Four, self-published by Penny Arcade, Inc., appeared in 2013 for Windows and , concluding the arc with similar mechanics but criticized in user feedback for repetitive puzzles despite strong character fidelity. User reception on platforms like averaged positive, with Episode One earning 4.5 out of 5 stars from 340 reviews and Episode Two at 87% positive from 138 reviews, praising the authentic comic integration but noting combat simplicity and episodic constraints as drawbacks versus expansive titles. Sales achieved niche success among the comic's dedicated fanbase, with Episode One's first-week performance described as strong by Penny Arcade updates, though overall figures remained modest without mainstream breakout, aligning with targeted rather than broad retail. The design choices favored narrative linearity to mirror comic strips' self-contained arcs, diverging from open-world ideals by constraining player agency to scripted beats and turn-based fights, which preserved satirical focus but reduced exploratory depth. In interactive works beyond full games, Penny Arcade released Decide-o-tron in as a aiding user decisions on purchases through personalized preference libraries and recommendation algorithms, extending the comic's humorous take on indecision into functional . The tool processes user inputs on genres and mechanics to suggest titles, embodying the comic's meta-commentary on consumption without deep gameplay, thus serving as a lightweight extension rather than a core gaming product.

Publications and Merchandise

Collected Editions and Books

The collected editions of Penny Arcade compile sequential webcomic strips into annual print volumes, preserving the original order and temporal context of the satirical commentary on video game releases, industry trends, and cultural phenomena. The series commenced with Penny Arcade Volume 1: Attack of the Bacon Robots!, published January 25, 2006, by , which gathered strips from the comic's early years (1998–2000) alongside creator annotations, sketches, and blog excerpts that elucidate the strips' contemporaneous references. Subsequent volumes, such as Volume 2: Epic Legends of the Magic Sword Kings (2007) and Volume 3: The WarSun Prophecies (2007), followed a similar curation process under publishers including Del Rey and , typically covering one calendar year of content with Holkins and Krahulik's retrospective notes to maintain fidelity to the strips' event-driven origins. These editions emphasize empirical preservation by including unaltered strips, supplemental artwork, and annotations that contextualize passing fads or controversies without revisionism, allowing readers to assess the comic's predictive or reactive accuracy against historical developments. The curation involves the creators selecting representative works while excluding filler, with annotations often detailing production decisions or external influences, such as game developer feedback. Up to at least Volume 7: Be Good, Little Puppy (2010), the series spanned roughly 2006–2013 across multiple publishers before shifting toward self-publication. Penny Arcade Presents, an associated imprint, extends to collaborative print works featuring guest artists or themed tie-ins, such as the 2004 Splinter Cell promotional comic co-produced with , which integrated Penny Arcade characters into game lore while retaining the core strip format. These limited-run editions highlight external partnerships but adhere to the comic's unfiltered style, often distributed at events or via specialty retailers. Book sales, integrated into Penny Arcade, Inc.'s broader merchandise revenue exceeding $19 million annually as of recent estimates, have provided to support the free model and independent commentary. Post-2010, digital editions emerged, with volumes offered as downloadable PDFs or e-books alongside physical copies, enhancing archival access for verifying strip chronology against digital archives. Recent self-published titles, like the 2023 Lexcalibur bundled with digital downloads, reflect to hybrid formats while prioritizing creator-controlled distribution.

Other Products: CCG, Scripts, and Tools

In 2009, released Penny Arcade: The Card Game, a featuring satirical elements drawn from the webcomic's characters, such as protagonists Gabe and Tycho engaging in exaggerated battles reflective of gaming culture tropes. The game's mechanics emphasize direct confrontations, with players deploying attack cards to deplete opponents' life points, incorporating humor through comic-inspired abilities and events like "The Fleshreaper." Earlier, in 2006, Sabertooth Games issued a Penny Arcade Battle Box expansion compatible with the Universal Fighting System CCG, containing 45 cards themed around comic fights, designed for tournament play within that ecosystem. Penny Arcade creators and developed a script adaptation of their 2010 comic strip "The New Kid" for , penned by , focusing on a human boy navigating school as the sole non-alien in a futuristic setting. Announced in June 2011 as an animated feature, the project stalled due to executive changes at Paramount and was effectively abandoned by 2016, yielding no produced film despite initial rights acquisition. Utility-focused tools emerged from Penny Arcade's gaming-centric output, including the Decide-o-tron application launched around 2011, which randomly recommends video games from a user's library to alleviate decision paralysis in game selection. In December 2006, Holkins and Krahulik contributed "I Come in Peace, With Console Advice," a Wired magazine guide offering pragmatic hardware recommendations for next-gen consoles like Xbox 360 and PlayStation 3, emphasizing compatibility and cost-effectiveness over hype. Collaborations with the (ESRB) produced educational tools, such as 2006 print ads using original Penny Arcade artwork to illustrate rating categories for gamers, followed by a 2012 PSA campaign targeting parental awareness of content descriptors. By 2018, this extended to video PSAs encouraging family discussions on ratings, distributed via ESRB channels to promote informed purchasing. Kickstarter initiatives funded niche extensions, including the 2012 "Paint the Line" card game project, which raised funds for a comic-themed but faced criticism for perceived rule deviations, ultimately delivering backer rewards amid mixed feedback on execution. A 2015 campaign for ad-free site support exceeded goals, enabling temporary removal of advertisements while sustaining operations through direct backer contributions, though long-term viability remained unproven. These ventures typically achieved funding thresholds but elicited varied backer responses, with success measured by pledge totals exceeding $400,000 in some cases yet highlighting challenges in delivering specialized gaming adjuncts.

Events and Community Engagement

Penny Arcade Expo (PAX)

The Penny Arcade Expo (PAX) originated in August 2004 when and , creators of the Penny Arcade , organized a modest convention at Seattle's Meydenbauer Center in Bellevue to prioritize gaming enthusiasts over the industry-centric model of like E3. Drawing an initial 3,300 attendees focused on panels, tabletop games, and community interaction, it contrasted sharply with corporate trade shows by emphasizing accessible, fan-driven content without heavy emphasis on sales pitches or restricted access. Attendance tripled to 9,000 by 2005 and continued rapid expansion, relocating to larger venues as demand outpaced capacity. By the 2010s, PAX had scaled into a network of regional events, including the inaugural PAX East in in 2010, PAX Australia starting in 2013, and PAX Unplugged in from 2017 onward, dedicated to and board gaming. PAX West remains the cornerstone, held annually over weekend in ; the 2023 edition attracted a record 120,000 participants, while the 2024 event generated $21.9 million in direct economic benefits to the region via hotel stays, dining, and retail spending by out-of-town visitors. This growth underscores PAX's role as a decentralized alternative to centralized corporate expos, sustaining a grassroots ethos amid the decline of , which organizers explicitly differentiated by rejecting its glamour-heavy, invite-only format in favor of broad attendee engagement. Core programming includes industry panels on and , expansive expo floors with playable demos from major publishers and independent studios, esports tournaments across genres, live music performances, and bring-your-own-computer LAN parties, all designed to immerse attendees in interactive experiences rather than passive announcements. These elements reinforce PAX's positioning as a counterweight to profit-driven conventions, where corporate agendas often overshadow consumer interests, by maintaining low and spotlighting diverse gaming communities. PAX enforces a prohibiting , threats, or disruptive actions, with violators subject to ejection or bans, a measure in place to ensure safe participation without curtailing expressive discourse central to gaming subcultures. Organizers, aligned with Penny Arcade's advocacy for unfiltered speech in creative works, prioritize this balance over expansive , viewing it as essential to preserving the event's authentic, gamer-led identity against pressures for sanitized content.

Additional Initiatives and Campaigns

Penny Arcade has collaborated with the (ESRB) on multiple campaigns to educate consumers about ratings. In June 2006, the duo created a series of five print advertisements featuring original characters representing different age-based rating categories, aimed at promoting awareness of the ESRB system among gamers and parents. A follow-up campaign launched in February 2012 included three national print and online ads with caricatures of real parents and gamers, emphasizing the ease of checking ratings via the ESRB . To provide insider perspectives on the video game industry, Penny Arcade produced The Trenches, a series depicting the daily challenges faced by (QA) testers. Launched in September 2010, the strip followed protagonist Isaac and his colleagues in a QA department, structured as a continuous akin to a with twice-weekly three-panel updates and accompanying reader-submitted "Tales from the Trenches" stories highlighting real industry experiences. The series, which ran for multiple seasons before entering hiatus in 2016, offered unvarnished glimpses into QA workflows, workplace dynamics, and development hurdles, fostering appreciation for behind-the-scenes labor. Penny Arcade has engaged in promotional partnerships with gaming hardware and software entities to enhance community access and feedback. Collaborations with included custom content integrations, such as the "Cardboard Tube Samurai" costume for as a pre-order incentive tied to Xbox versions, alongside a promotional . Following the 2020 shift to remote operations amid global restrictions, the team adapted by emphasizing digital tools like interactive comic remixes on their , allowing fans to generate randomized panels from the archive for personalized engagement and direct input via surveys. These efforts maintained core satirical commentary on gaming culture while broadening virtual participation without compromising the focus on industry critique.

Philanthropy

Child's Play Charity

Child's Play Charity, established in 2003, channels funds raised primarily through annual community drives at Penny Arcade Expo (PAX) events toward purchasing and distributing toys, video games, consoles, and related technology to over 190 pediatric hospitals worldwide. These drives leverage the gaming community's participation, with PAX serving as the charity's official platform for on-site auctions, donor matches, and direct contributions, contributing to cumulative totals exceeding $67 million in cash and in-kind donations by 2025. The charity's operational model emphasizes direct aid with minimal administrative layers, delivering therapeutic play resources that hospitals integrate into patient care programs, including funding for specialized gaming technology roles. Since 2017, it has supported 49 such positions across partner facilities, enabling sustained on-site game development and tech maintenance to enhance patient engagement and recovery outcomes. Distribution metrics include annual monetary grants to network hospitals alongside targeted shipments of age-appropriate games and devices, avoiding broad overhead by partnering directly with manufacturers for discounted or donated items. Efficiency is evidenced by low program expense ratios, with 2024 financials showing $3.77 million in total expenses against $4.18 million in , and a consistent 4/4 star rating from for accountability and transparency, reflecting rigorous independent audits and public disclosure of fund allocation. Claims of insincerity, occasionally leveled amid broader scrutiny of gaming industry figures, have been countered by these verifiable metrics and the charity's endowment model, which prioritizes pass-through funding over perpetual bureaucracy.

Other Charitable Efforts

In 2005, during their public dispute with attorney Jack Thompson, Penny Arcade creators and pledged $10,000 to charity if Thompson matched the amount for a cause of his choice; when he declined, they donated the sum to the Entertainment Software Association Foundation (ESAF), which funds initiatives including research into . This one-time contribution highlighted their commitment to independent of ongoing drives, channeling funds through an industry-aligned organization focused on health-related causes. Penny Arcade has occasionally directed proceeds from event merchandise to targeted nonprofits. For instance, in 2020, sales of specific enamel pins at PAX East supported , an organization aiding LGBTQ+ individuals fleeing persecution, with additional direct donations encouraged. Such efforts prioritize measurable aid, like relocation assistance for at-risk populations, over broad awareness campaigns. Smaller auctions and partnerships have also generated funds for varied recipients. In 2016, Krahulik and Holkins auctioned a custom , with proceeds benefiting unspecified charitable ends tied to gaming industry collaborators like , demonstrating ad-hoc support for community-driven giving. These initiatives, while less publicized than core programs, underscore a pattern of leveraging their platform for direct, verifiable impact without reliance on annual hospital toy distributions.

Intellectual Concepts

Greater Internet Fuckwad Theory

John Gabriel's Greater Internet Fuckwad Theory, a concept introduced by Penny Arcade writer under the pseudonym John Gabriel, posits that an otherwise normal individual transforms into an aggressive antagonist when granted and an attentive in online environments. The theory originated in the March 19, 2004, comic strip "Green Blackboards (And Other Anomalies)," which drew from empirical observations of troll behavior in gaming forums, such as those surrounding , where pseudonymous users disrupted discussions without facing real-world repercussions. Holkins formulated it as a : pseudonymity dissociates online actions from , reducing , while an audience provides validation or escalation incentives, amplifying irrational or hostile conduct beyond what occurs in accountable, face-to-face interactions. The theory critiques how online pseudonymity fosters disinhibited behavior, contrasting it with offline settings where immediate social feedback enforces restraint. Holkins applied it to explain dynamics in gaming communities, where anonymous posters engage in coordinated disruption or wars, behaviors rare in physical gatherings due to visible consequences. In a extension, Holkins proposed a —Normal Person + Audience – Consequences = Total Fuckwad—extending the model to non-anonymous actors, such as public figures or influencers, who exploit loyalty without personal risk, as seen in sustained online campaigns lacking accountability mechanisms. This highlights pseudonymity's role in magnifying group irrationality, such as outrage mobs, where detached identities enable escalation unchecked by reputational costs present in real-world . Subsequent psychological research aligns with the theory's predictions, particularly John Suler's 2004 analysis of the , which identifies dissociative as a key factor in toxic online expressions, supported by observations of heightened aggression in asynchronous, invisible interactions. Empirical studies on , a related concept, validate that erodes and , leading to antisocial actions reinforced by group audiences, as evidenced in analyses of forum trolling and virtual harassment patterns. Holkins has defended the framework against overgeneralization, emphasizing it targets harassment amplified by detachment rather than equating all online criticism—often productive offline—with fuckwaddery, thereby preserving distinctions between reasoned dissent and unaccountable vitriol.

Feud with Jack Thompson

The feud between Penny Arcade and attorney Jack Thompson escalated in 2005 amid Thompson's broader legal campaign against the , which he accused of producing content that causally incited real-world violence, particularly in titles like . Following the July 2005 "Hot Coffee" mod exposing hidden in the game, Thompson filed lawsuits against , , and retailers, alleging the material promoted aggression and deviance in minors; these suits sought injunctions and damages but were ultimately dismissed or settled without validating his causation claims. Thompson's arguments relied on anecdotal links, such as the 2003 Devin Moore murder case, where the perpetrator had played , but courts repeatedly rejected assertions of direct causality due to insufficient evidence. Penny Arcade's creators, and , responded with satirical comic strips critiquing Thompson's tactics and proposals, including the October 14, 2005, strip "And All of It True," which lampooned his ""—an open challenge to game developers to create a title simulating parental revenge against violent . The strip and subsequent merchandise, such as the "I Hate Jack Thompson" T-shirt sold via their online store, mocked his self-proclaimed role as a crusader and highlighted perceived hypocrisies in his demands for industry . These responses aimed to rally by exposing Thompson's strategies as performative rather than evidence-based, with the strips garnering widespread attention and donations to charity in ironic gestures, such as Penny Arcade's $10,000 contribution to the National Institute on Media and the Family—originally pledged by Thompson but unfulfilled. Tensions peaked when Thompson, claiming the merchandise and strips incited death threats and harassment from gamers, faxed a letter to the on October 18, 2005, accusing Krahulik and Holkins of criminal orchestration and demanding their arrest, the shutdown of Penny Arcade, and an investigation into industry-backed intimidation. He further threatened lawsuits against the creators for any continued contact, describing their output as "vile" and part of a , though no formal suit against Penny Arcade materialized and police found no basis for charges. The Florida Bar Association reviewed Thompson's conduct but prioritized ongoing probes into his separate filings. Thompson's efforts, including countersuits against publishers like Take-Two in 2007 over , were rebuffed by courts, which dismissed cases for lacking merit and violating First Amendment protections. In September 2008, the Florida Supreme Court disbarred him permanently, citing 27 counts of misconduct such as frivolous pleadings and ethical violations tied to his anti-gaming filings, effectively ending his legal challenges. This outcome underscored the absence of empirical support for Thompson's causal narrative, as subsequent research, including meta-analyses, has found no reliable link between violent exposure and criminal violence—contradicting his moral panic framing by attributing any short-term effects to negligible, non-causal factors like rather than behavioral . Penny Arcade's satirical pushback, meanwhile, amplified industry defenses and community resilience without legal repercussions.

Dickwolves Strip and Free Speech Debate

In August 2010, Penny Arcade published the comic strip "The Sixth Slave," which satirized the repetitive quest structures in by depicting a hero encountering chained slaves guarded by fictional "dickwolves"—absurd, phallic-headed wolf creatures—while prioritizing the completion of a grindy kill task over their immediate rescue. The strip's dialogue included the line, "These guys are being raped by dickwolves. It's pretty bad. I've got to get 20 of them for this quest though," highlighting the frustration of arbitrary MMO objectives rather than endorsing violence. The strip drew immediate criticism from bloggers and activists, who interpreted the imagery and phrasing as trivializing rape and perpetuating insensitivity toward sexual assault victims, with figures like Leigh Alexander arguing it normalized harmful tropes in gaming culture. Penny Arcade co-founder Jerry Holkins responded in a follow-up post, clarifying that the joke targeted quest design flaws, not trauma, and divided reactions into those grasping the satire versus those projecting unrelated agendas onto hyperbolic gaming complaints. Despite calls to remove the strip, Holkins and artist Mike Krahulik refused, emphasizing artistic integrity and opposition to retroactive censorship of humor, a stance supported by gamers who viewed the backlash as an overreach by moral guardians seeking to sanitize edgy content. In defiance of critics, Penny Arcade briefly sold "Team Dickwolf" merchandise, which amplified the debate and led to accusations of provocation, though proponents defended it as a free-speech assertion against reforms in creative work. By January 2011, the creators discontinued the shirts to de-escalate merchandise-related tensions while retaining the original strip online, signaling a pragmatic boundary without conceding on content removal. The incident spurred broader discussions on humor boundaries in gaming, with Holkins later reflecting in 2013 that while the strip remained a "strong comic," similar content might be approached differently today amid evolving sensitivities, yet underscoring refusal to police preemptively. The controversy influenced Penny Arcade's implementation of an anti-harassment code of conduct for PAX events starting in 2010, aimed at addressing attendee behavior but criticized by some as either insufficiently enforced or prone to subjective overreach in defining offenses. Defenders in gaming communities framed the episode as an early clash between unfiltered expression and institutional pressures for conformity, garnering support from those prioritizing causal critique of game mechanics over inferred endorsements of real-world harm, in contrast to narratives from progressive outlets that normalized outrage as a tool for content moderation. The strip's persistence highlighted tensions in creator autonomy versus audience expectations, with no evidence it intended or effected harm beyond interpretive disputes.

Other Disputes and Criticisms

In April 2003, Penny Arcade published a comic strip parodying in the dark, gothic style of American McGee's Alice, depicting the character in a violent, adult-oriented scenario as a satirical jab at horror reinterpretations of children's icons. , the intellectual property owner, issued a cease-and-desist letter citing on the character's name and likeness, prompting the strip's removal from the . The creators responded lightheartedly, reposting a censored version and mocking the legal threat as overreach, with no further litigation or significant public backlash ensuing. This incident highlighted tensions between rights and corporate IP enforcement but did not materially impact operations. By 2013, Penny Arcade faced criticism over its exhibitor policies at PAX events, particularly the longstanding ban on "booth babes"—promoters in revealing attire hired primarily for visual appeal rather than product knowledge—which aimed to curb and align with the convention's ethos. Detractors, including some indie developers and media outlets, argued the rule veered into unnecessary , potentially discriminating against or legitimate marketing tactics, while supporters praised it for prioritizing merit-based representation over exploitative hiring. The policy, in place since at least 2012, was defended by organizers as content-neutral enforcement focused on professional conduct, not gender, amid broader debates on at gaming events. Valid concerns about attendee safety were addressed through a robust anti- code, though amplified fringe outrage in progressive media circles often overstated the issues, ignoring the policy's intent to foster substantive engagement. These disputes elicited boycott calls from vocal minorities, yet empirical evidence of PAX's resilience is evident in sustained attendance expansion: PAX Prime drew over 70,000 in and reached record highs exceeding 100,000 by the late , with post-2013 events showing no decline attributable to the controversies. This growth refutes claims of widespread alienation, suggesting media-driven narratives disproportionately elevated outlier views over the majority's continued participation, while overreactions risked chilling open discourse in a community valuing irreverence.

Reception and Legacy

Awards and Industry Recognition

Penny Arcade received multiple honors from the Web Cartoonists' Choice Awards during the early 2000s, including five categories in 2004 such as Outstanding Website Design. These awards recognized the webcomic's prominence in gaming-themed content and its technical execution amid a growing field of online strips. In 2010, creators Jerry Holkins and Mike Krahulik were awarded the Ambassador Award at the Game Developers Choice Awards for fostering community engagement and advocacy within the video game industry through their comic and related initiatives. The same year, Time magazine included Holkins and Krahulik in its TIME 100 list under the Artists category, acknowledging Penny Arcade's role as one of the longest-running and most influential gaming webcomics since its 1998 debut. The Penny Arcade Expo (PAX), launched in 2004 by Holkins and Krahulik, earned industry acclaim for establishing benchmarks in fan-centric gaming conventions, expanding from an initial attendance of hundreds to multimillion-dollar events that influenced subsequent expos in structure, inclusivity for and video gaming, and community focus. This recognition stems from PAX's verifiable growth and its role in professionalizing conventions without corporate dominance, as evidenced by partnerships with organizers like ReedPOP.

Cultural and Economic Impact

Penny Arcade's PAX conventions have served as a model for fan-driven, community-focused gaming events, emphasizing accessibility and direct engagement over corporate dominance. PAX West 2023 drew a record 120,000 attendees, while the 2024 edition generated an estimated $21.9 million in local economic impact for Seattle through visitor spending on lodging, dining, and transportation. These figures underscore the events' role in bolstering local economies and providing platforms for independent developers, with dedicated indie showcases enabling smaller studios to connect with audiences without reliance on major publishers. The associated Child's Play charity, co-founded by the strip's creators, has raised over $67 million since 2003 to provide games and toys to children's hospitals worldwide, demonstrating gaming's capacity for tangible philanthropy. Culturally, Penny Arcade contributed to mainstreaming webcomics by achieving widespread influence within gaming circles, where its thrice-weekly strips on industry trends and player experiences attracted millions of readers and inspired a surge in niche digital content creators. The strip's "Greater Internet Fuckwad Theory," articulated in a 2004 comic positing that plus audience transforms ordinary individuals into aggressive online actors, has permeated discussions of digital behavior and been referenced in academic analyses of outrage dynamics and social identity in virtual spaces. It helped shape a resilient "" identity centered on irreverent humor and anti-elitism, countering perceptions of gaming as fringe by normalizing self-deprecating commentary on community flaws. Following the disruptions, Penny Arcade adapted PAX to hybrid formats, launching PAX Online in September 2020 as a nine-day with continuous streaming channels for panels, showcases, and community interaction, which sustained engagement amid venue closures and industry shifts toward . This pivot preserved the events' relevance by prioritizing online accessibility, allowing global participation and reinforcing indie voices during a period of consolidation among larger gaming firms.

Balanced Critiques and Defenses

Penny Arcade has garnered praise for its unvarnished portrayal of gaming subculture, with supporters lauding the comic's irreverent as a faithful reflection of gamers' humor and frustrations, free from external sanitization. Critics, however, have accused the strip of insensitivity, particularly in its handling of themes like , arguing that such content normalizes harm and deters marginalized participants from gaming spaces. Defenses of Penny Arcade emphasize its role in resisting what proponents describe as encroaching cultural puritanism, positing that the comic's edge preserves authentic expression against demands for preemptive conformity in humor. Empirical indicators, such as sustained growth in PAX attendance—from approximately 70,000 at PAX Prime 2010 to over 120,000 at PAX West 2023—suggest limited fan attrition despite controversies, undermining claims of widespread toxicity driving away audiences. Allegations of exclusionary environments, often raised by progressive commentators, have been countered by Penny Arcade's post-2013 policy shifts, including adoption of explicit harassment codes at PAX events and public reflections on privilege by co-creator , alongside observable demographic diversification in attendee surveys and panels. These adaptations, while not eliminating all critiques, demonstrate responsiveness without capitulation to censorship, as attendance metrics continued upward trajectories indicative of broad appeal retention.

References

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