3 More Lessons - The Wonders of Penny Arcade

NOTE - Over a year ago, I wrote a number of posts regarding my Top 10 Influences. Consider this to be the unofficial #11.

Penny Arcade, by Mike Krahulik
October 23, 2008

In 1998, Messrs. Jerry Holkins and Mike Krahulik debuted what has become the most successful webcomic to date. This is not hyperbole or opinion. This is fact. They have taken what had started as secondary content for an already established site and have turned into a cultural zeitgeist amongst a land of memes. One could say Penny Arcade did for the internet what The Simpsons did for television, but they would be wrong, if only for their lack of scope.


I could go on and on, about how they branched out into books, games (both digital and analog), conventions, a television network (does it still qualify as television if it is exclusive to the web?) and a full-blown charity that is so incredibly noble that it can actually rekindle a person's hope in humanity. Did you know they actually have their own line of clothing as well? I don't mean t-shirts here either. I mean an actual clothing line that is aimed at a specific market demographic.


Like I said, I could speak at length about the incredible kingdom they have created. However, that has already been touched upon in so many other forms, that it is pointless for me to retread on that ground. Furthermore, if you are reading this, then there is a good chance that you have taken more than one road-trip down the information superhighway, and have inevitably heard some mention of Penny Arcade. Instead, I want to talk about what Penny Arcade has done for the comics medium and what it has taught me.



ANOTHER NOTE - Before I continue, I want to establish some shorthand. From hence forth, Tycho shall refer to Mr. Holkins, Gabe shall refer to Mr. Krahulik, VG will be shorthand for video games, and PA will refer to the overall entity of Penny Arcade.

 

1 - Patience and persistence pays off, but don't be afraid to experiment

Lookouts, by Mike Krahulik - January 15th, 2010

Art does not sprout fully formed from the artist's head like a Grecian goddess, nor are artists born with an inherent talent or style. Everything that an artist produces that is aesthetically beautiful takes time and effort. Gabe is no exception.

If you take just a quick glance at the PA daily strip, and you may take for granted the time and effort that goes into it. It's not the hours of time Gabe spends drawing each strip, but rather the years of dedication that show up in every panel. The current look of the average PA strip took years to chisel out of nothing.

The original Lookouts strip
from June 10th, 2009

Even more impressive than Gabe's daily work are the occasional strolls down long-form narrative and solo pieces. In these, Gabe displays a keen eye that knows when to add and when to subtract detail. One of the most striking of these instances comes from the original Lookouts story from June 10th of 2009. In it, Gabe escapes the trappings of conventional, animated realism to exhibit a more etherial, impressionistic take on the background. With the loss of any solid backgrounds, swirling colors and strategically placed lines take the place of a definite setting, allowing for a world of simultaneous whimsy and worry.

The Girl and the Ghost, by Mike Krahulik
November 19th, 2009

These same traits can be found in an earlier piece called The Girl and the Ghost, from November 19th, 2008. In it, the same impression of a world found in The Lookouts is displayed in a more haunting fashion.

About a six months after the debut of the Lookouts, Gabe returns to the fertile forest playground with a solo piece that could easily be a fusion of the original strip and The Girl and the Ghost.


To often, artists can drown in the boredom of their style. Though some critics may balk  at an artist's shift, it is necessary for any creative person to breath and experiment, if for no other reason than to improve upon what they already produce. In the case of PA, I am thankful that Gabe takes the time to produce solo work, because without it, the adventurous, long-form jaunts, such as Lookouts and Automata, may not exist; and though I may wish to see more long-form narrative from Tycho and Gabe, I am more than happy to take what they provide over having nothing at all.

Automata, from
June 12, 2009

2 - Creating comics can be applied to the greater good

Growing up, I loved comics. The art, the action, the writing - I loved every aspect of the medium. What I loved most were the morality lessons that were found within the pages of X-Men and Avengers. X-Men taught me that people are people, and you shouldn't discriminate based on their differences. Avengers taught me that you must stand up for what you  believe is right, even if the opposition is bigger or more powerful. In essence, comics made me want to make a better world so much that I took the following, self-written oath, and still stand by it to this day: I SWEAR BY MY LIFE to change this world for the better!

In 2003, PA created Child's Play as a response to the fallacy of VG's influencing youth towards violent behavior, and I had just started college. Through intense study of writing and art, I had decided that comics were the alpha and omega of broadcasting ideas from one human to another. I was so convinced by this fact that it became the central thesis of my entire college education. By my senior year, with months left before graduation, I was infected by the same idealism that hits most college students earlier in their student career. I remembered my oath, and realized that I had been training myself all wrong. Imagine if Batman vowed to avenge the death of his parents by waging war on crime, and then four years later winds up with an art degree and no idea how to fulfill his goals because he was distracted by the shimmering allure of comics. To exacerbate an already embarrassing situation, I had just received a rejection letter from the internship I had foolishly banked the entirety of my future plans on. With graduation fast approaching, I had no idea what I was going to do after school. Instead of devising any concrete plans, I sat in my Computer Science class and gorged on PA.

Whether I had forgotten, never known, or just hadn't put the pieces together, PA had already created the solution to my problem. They had leveraged their success into actual charity. They weren't just giving money for others find solutions. They were giving money, raising money, and making the solutions themselves. In the case of Child's Play, they were raising money to purchase VG's and toys for the children's wards at hospitals to make what is a genuinely frightening play a little less scary for kids who had to be there.

By themselves, comics may not be able to cure diseases or stop wars. They can make the world a little less frightening through their own accord, but if used wisely, they can assist in collecting the resources necessary in stopping social ills and direct them towards the organizations that can.

3 - The future is nothing if not an echo of the past

One of the oft-overlooked cornerstones of PA is the commentary by PA co-creator Tycho. A person who has only read the comics themselves can be forgiven if they view PA as nothing but a series of dick-and-fart-and-VG jokes that can appeal to the masses. Inexcusable are critics who judge PA based on the jokes alone. To do so would be akin to calling Shakespeare or Mozart hacks because you believe the entirety of their work revolves around basal humor.



Tycho is a writer of immeasurable talent who is able to connect with the audience. Like Shakespeare or Dickens, he weaves the narrative of everyday life together with what the audience wants, with what the audience relates to. In fact, much like Dickens, Tycho is able to produce profusely on the perfunctory and still make you care. His interests aren't solely based in and around VG culture, but transcends the black hole of mass media and steeps itself in everything from Milton to Dungeons and Dragons.


What is a writer if his work doesn't resonate with the audience? The short answer is obsolete, but in reality, would they be a writer at all? Like all the writers of the past, Tycho could write to satisfy critics, but doesn't, because the critics aren't the target. He just writes like others breath. He, like Dickens, is the voice of the public; his words are a tapestry of the era.

Paracosm, Brikabrak, Cerebus and Mini-Comics

I just woke up from a nap. It was one of those naps where there was no actual sleep, and my eyes only stayed close if I concentrated on them doing so. Really, it was just a brief period of complete and total inaction. No thought, no movement. Much like watching TV, but without the painful numbness that accompanies prolonged exposure.

When I returned to general consciousness, I was filled with an overwhelming sense of dread. A harbinger of doom was sitting in the corner, making snide commentary. After checking all the usual sources, it was finally concluded that the harbinger was just having fun at my expense.

***

I'm closing in on finishing the first chapter of my new project, Paracosm. If there was anything for me to be excited/anxious/ecstatic/concerned about, it would be this. However, instead of taking any real pause to consider what its completion might create, I am more interested in writing the next few chapters. Especially since the conceptual format of the project is so fluid. Paracosm - Chapter 1 is a pale shade of what it was upon conception. Overall, Paracosm has a loose sense of where it should go, akin to the directions of Horace Greeley: "Go west, young man."

Move forward. The only direction I have for this project. Years of planning and practicing and preparing have ultimately left me with nothing but drive. Cast aside are any concerns regarding quality. Instead, I'm doing a project that is solely for my own interests. Most of the work that has gone into this project is just a method of chaining down a fleeing sanity disgusted with the environment it has been left to deal with.

***

The picture above reminds me of an extremely short story I wrote possibly a year ago. If you will permit, I would like to share it with you:

Where the Ideas Come From

Underneath my bed, there is a small troll named Brikabrak. He is not a troll like the ones of legend, known for eating children and other horrible things. Nor is he one of whimsical fancy, associated with granting wishes and being generally delightful. Brikabrak is, for the most part, just an ordinary troll. However, at night, when I lay my head to sleep, Brikabrak climbs out from under my bed, and whispers stories in my ear as I dream. Sometimes they are old stories, like how the tortoise got his shell. Some stories have yet to occur, such as the story of Zeta, the first child born of the singularity. But he tells stories. New stories, every night, only ever repeating himself to suit my own preferences. And as such, I have yet to banish him from under my bed. For as long as he keeps telling stories, he shall always have a place in my room.

***

I've started reading Cerebus. I'm starting with Volume 13. It is good. That is all I'll say about that.

 

***

 

April 9th is Mini-Comics Day. I may do something to celebrate. I'll let you know if anything develops. I encourage you all to try something as well. Even if it is as simple as folding a piece of paper twice and scribbling on the sub-pages, there is something uniquely fulfilling about creating something that you cannot understand until you do it yourself. The more I think about it, the more likely I am going to create some sort of 8-page monstrosity for the sake of creation. For now, I think I will end this one-sided discourse with the web in favor of meandering whatever ethereal pathways I can find between now and slumber.

Peace and Love, my very special friends!

Memetics and ME

The piece pictured above, Beneath of the Mask, is such a beautiful and succinct representation of my personal ideology, I may cry. This piece resonates to my eyes as a choir of angels would to the Pope's ears.

It should be of no surprise to anyone familiar with my work or interests that memetics and the blur that occurs between life and creation are a source of much interest to me. Grant me but a few precious minutes to expand on and unravel the cosmic complexity held within this portrait and hopefully explain why the vast, spiraling abyss of memetics is so intoxicating.

Pictured above is a representation of the character V from Alan Moore's work V for Vendetta (hereafter referred to as VfV). In the book, V acts as a match for the fire of revolution in a dystopian society analogous to Moore's view on Thatcher's UK. Moore's ideas on utopia (or, the lack thereof at the time which he wrote VfV) fueled the creation of VfV which, in turn, fueled the creation of V himself. V's appearance isn't coincidental. It is in based on the legend and iconography of Guy Fawkes, a man who's legend is central to the idea of a failed idea, the Gunpowder Plot, that was in fact inspired by his own ideology.

So we have Moore's creation V, who was inspired by Guy Fawkes, whose legend was birthed by a failed idea; kill the king. However, look at the moniker of Moore's character: V. V is the 22nd letter in the Latin alphabet, a derivation of numerous previous alphanumeric systems which originated from hieroglyphs, which derived from pictographic cave paintings, which were originally conceived to convey ideas from one person to another across the distance of time and space. The alphabet, and all other logoforms, come from the same basic concept: the transmission of ideas.

Not only is V the creation of Moore, based on the idea of Guy Fawkes, whose entire legacy revolved around ideology, but his very moniker is a symbol representative in the transmission of ideas, which is in fact a major driving force in the characters psyche throughout the pages of VfV. V's very purpose is to spread ideas, as is the purpose of Guy Fawkes with his failed plot, the essential use of logoforms such as his moniker, and the very profession of Moore, his creator.

But let us return to the work of art that crowns this lengthy monologue. The image of V is constructed of numerous letterforms, referring back to the characters moniker as well as acting as numerous, individual reminders to their very essence and use as logoforms. Furthermore, the alphabetical logoforms that construct this representation of the creation of Moore are also the main medium of Moore himself, and can hearken back to the ENTIRE HISTORY of language itself, which is yet another construct built to disperse the viral reproductive constructs that are ideas.

The entire portrait is built both literally and metaphorically on the quote taken from VfV: Ideas are Bulletproof. However, maybe the quote would be more precise and better served if a single word were replaced.

Ideas are Immortal.

An idea more precise, but not exact. For ideas are not only immortal, but also living, changing, evolving. Ideas and concepts are entities as much as ourselves, as they grow and change and mature just as we do. However, they never die. Not completely. Hence their immortality.

Sure, certain ideas may disappear for awhile, but they still exist somewhere, whether they are hiding in the minds of others, or wrapped up in other, similar ideas, they always exist, and they always will.

Or so I like to think...