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Abram Shilov
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Krahulik and Holkins -- better known as "Gabe" and "Tycho" to the 4-million-plus monthly readers of their online comic strip about video games, Penny Arcade ( -- celebrated a landmark of sorts last weekend. Their second annual Penny Arcade Expo, a gaming festival held in Bellevue, Washington, more than doubled its previous year's attendance and drew an estimated 10,000 fans.

The Penny Arcade team, which operates from an office in Seattle, also was in the process of hiring its fifth full-time employee, a modest but significant expansion for an enterprise built on comic strips detailing the frustrations of voice-controlling a Nintendog or ways to save up for an Xbox 360.

In the late '90s they responded to a call from a gaming magazine, Next Generation, to create short comic strips about games. Feeling they had found their voice (three panels was "better suited to our lack of attention span"), they submitted an avalanche of strips. They were rejected.

Undeterred, the pair decided to try their strip online, launching it in 1998 and eventually attracting an investor. They developed a readership of 1 million readers a month, only to lose their backing in 2000 as the dot-com bubble popped. By that time the guys had moved apart and gotten married, but the day they lost their support Holkins was also evicted.

In the last five years, readership for Penny Arcade has quadrupled and Krahulik and Holkins have seen their influence greatly increase. Game makers, chief among them Ubisoft, commission the duo to write strips to package with their games. Holkins said despite occasionally working with game developers, he and Krahulik are still outsiders.

Sex/Nudity: 1 scene of implied sex, 3 with nudity in a strip club. Violence: 27 scenes with violence, including 3 lengthy sequences, shooting, and a brutal fight. Profanity: 36 expressions, some harsh. Drugs: 4 scenes with alcohol, a few with tobacco, 1 with cocaine.

Sex/Nudity: 2 scenes with sex, 2 with nudity; 6 suggestive scenes, including innuendo and a strip club. Violence: 15 scenes with violence, including baseball-bat beatings as well as more comic moments. Profanity: 50 expressions, mostly mild. Drugs: 5 scenes with alcohol, 8 with tobacco, 4 with both.

Roger Michell. With Julie Walters, Ciaran Hinds, Nuala O'Neill, James Loughran, Barry Loughran. (96 min.) *** Outraged by the sectarian violence that's disrupting her neighborhood, a middle-aged Irish mother decides to take matters into her own hands and wage a war for peace, even as she copes with domestic challenges, including her teenage daughter's first love affair. Michell treats the Irish troubles of the 1970s with clear-eyed compassion.

Theatre Review by Matthew MurrayGood grief, this was a Fringe Festival hit?Okay, in some ways, it's easy to see why Fringegoers flocked to Dog Sees Godin 2004: It's ruthlessly youthful, it's drenched in profanity and topicsranging from sex and drugs to homosexuality and suicide, and it mercilesslyskewers the beloved characters of Charles Schulz's classic comic strip"Peanuts," so straightforward, warm, and honest that it can't help but makeany antiestablishment theatre maven's blood boil.But it's difficult to imagine discriminating - let alone mainstream -theatregoers finding much of value in this brutally joyless play, which justopened at the Century Center. This production makes painfully clearsomething future Fringe transfers should keep in mind: What looks greatdowntown on warm August nights doesn't always have the same impact in majorvenues in the cold light of day or the cold air of December.And "cold" is an excellent word for Dog Sees God, which commits the cardinalsin of parodies (this one bills itself as "unauthorized") or adaptations ofpopular, pre-existing works: It evinces not a shred of love or respect for,or understanding of, the original. This makes both the play and thisproduction, which has adequate but undistinguished direction by TripCullman, hollower, shallower, and much less funny then the comics they tryto torpedo.In the first scene alone, we learn that Charlie Brown's beagle Snoopy hasbeen put to sleep. (He developed rabies and chewed to death his longtimeplaymate Woodstock.) After an underattended funeral (only Charlie's sister,Sally, joins him at the backyard service), one question lingers in Charlie'smind: What happens when we die? Suffice it to say, confused Goth-kidSally, Charlie's dreadlock-decked friend Linus, his hunky pal Pigpen, valleygirls Peppermint Patty and Marcie, piano-playing gay guy Schroeder, andpyromaniac mental patient Lucy aren't of much help.They are, after all, too busy embracing every teen trope imaginable. Sally(America Ferrera) is a frustrated performance artist. Linus (Keith Nobbs)is a pothead. Pigpen (Ian Somerhalder) is now a compulsive germophobe neverseen without a bottle of hand sanitizer. Schroeder (Logan Marshall-Green)is a tall, lanky virgin forever sporting glasses and plaid. Patty andMarcie (Kelli Garner and Ari Graynor) are the popular girls who sneakalcohol into their lunchtime milk. Lucy reacted violently to one girl'ssuggestion she planned to save her virginity until her wedding night.A nominal story ties all this together - guess who's secretly gay! - butRoyal's cliché-riddled writing relies too heavily on low-voltage shocks(ooh, they just did drugs and now they're having a threesome) for fuel;after the first five minutes, his one joke just isn't that funny anymore.And there's no issue Royal addresses that hasn't been handled moresensitively and creatively elsewhere, and his devotion to parody completelystifles his own voice: We get no sense of what he might accomplish if hebothered to create original characters and put them in specific, originalsituations that illuminate larger aspects of the human condition. You know, more like Schulz. The kids populating his world aremanifestations of adult insecurities, never intended to be real children.(At least no child I've ever known has missed catching a baseball becauseshe was worried about foreign policy or demanded a notary public authorize acontract banning football pulling.) The real Charlie Brown, Lucy, Linus,and others reflect adult silliness across a wide range of social subjects;TV's South Park or Broadway's Avenue Q, while raunchier, have similar goalsof saving us from taking ourselves too seriously.But they choose their targets carefully, and gut or update themaffectionately. Royal's full-frontal assault on Schulz suggests a distastefor his morals and a desire to update them to How We Live Today. But intaking a literal approach to a nonliteral idea, Royal strips away the gang'scomplexity, making them sound and behave considerably more immature thantheir Schulzian analogues. As but two examples, Schulz's academic,security-blanket-attached Linus seems more real than Royal's stoner mockintellectual, and Schroeder's impeccable wisdom and artistic integrityaren't at all reflected in the generic nerd-of-the-week treatment hereceives here.It's likely for this reason that Royal has slightly renamed the gang:Charlie Brown is CB, Pigpen is Matt, Linus is Van, Marcie is Marcy, and soforth. Of course, had he completely camouflaged the "Peanuts" connection,no one would give Dog Sees God a second look; it's remarkable for no otherdiscernible reason.This production, though, might score a double take or two because of itsyoung, Hollywood-centric, impossibly attractive cast led by Eddie KayeThomas (of the American Pie movies) as eternal blockhead CB. To his credit,there are times he almost taps into Charlie Brown's flighty emotional core,occasionally suggesting this might be the same guy with 10 extra years and10 fewer Commandments. But no other performer remotely recalls Schulz, andthe nudge-wink, unsympathetic archetypes they create never transcend thebase gimmick to become anything true or relatable.Cullman tries, often successfully, to imbue the proceedings with acomic-strip unpredictability, and this is nicely represented in DavidKorins's colorful Schulz-inspired sets. But despite snatches of jazzy VinceGuaraldi music (with a new metal edge), sight gags about the originalcharacters' postures or dance moves, and throwaway references to minorcharacters or events from the strips, nothing here is an adequate substitutefor, or extension of, the true "Peanuts" world. Royal might prefer tovivisect it than pay homage to it, but it will still outlive both him andDog Sees God._____________________________Dog Sees GodRunning Time: 90 minutes, with no intermissionCentury Center, 111 East 15th Street (East of Union Square and Park Avenue)Tickets online and current Performance Schedule: Telecharge Share: 041b061a72


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