This involves a deliberate misunderstanding of criticism. Criticism is not saying you should not be allowed to say that but if you knew X you wouldnt have said it in the first place. The deliberate part of the misunderstanding comes from being unwilling to face the possibility that their brilliant, true, funny insight about the world was dull, mistaken, and not very funny. Often, this accompanied by the defense that the joke, is, after all, just a joke; those who take it too seriously are misunderstanding humor itself.
Yet, Penny Arcade is extremely proud of itself for ridiculing corrupt companies, criticizing failed promises, or simply having good taste in video games. You can probably already see the contradiction: Penny Arcade gets to be taken seriously whenever they wish it to be taken seriously. Otherwise it is simply japes.
Hes not the only one, and Penny Arcade, like many satirists of this generation, are complicit in the assassination of a once respected genre of humor. Like their contemporaries, Family Guy and South Park, Penny Arcade believes that it can make claims and state opinions through humor, but those claims and opinions only exist when they want them to. All the brilliance of satire without any of the responsibility or risk that comes with committing to an actual statement.
Penny Arcade is a reflection of how satirewhich, by refusing responsibility, is no longer satirehas begun to devour itself. Humor, just like anything else, isnt meaningful unless it risks enough to actually say something. Mike Krahulik and Jerry Holkins are perfectly willing to make a statement by expressing regret at pulling Dickwolves merchandize (I believe Holkins lack of response implicates him until he expresses otherwise) yet, curiously, do not believe that their comic could also have made a statement about rape. The self-proclaimed iconoclasts of contemporary humor have become, in fact, shills for the status quo, selling their shameless endorsement of it as edgy and subversive. They cast oppressed groups as establishment bullies and their legions of fans as plucky rebelseven as video games have become widespread mainstream entertainment. Their humor says nothing new, and it cannot be clever because it involves no reassessment on any level of anything they or their audience already thinks. They are not standing against censorship, but against the idea that their own opinions and ideas, their very form of expression, might be something that should be taken seriously. A stance against criticism is a stance against the legitimacy of their own art, which they are sacrificing to deflect responsibility. Not so different from the industry they posit themselves as critics of when they say its just a game.