"But yeah, I was expecting to look down there and see this giant eyeball looking up at me, angry at me because I blew off its eyelashes or something, then the whole building starts shaking and I guess I'd ball up and cry, because what do you do when something that big wants to kill you?"
In Funny Business, Jeannette crossed this trope in a flashback after realizing that she had abused her Reality Warper powers as a toddler, to cause real harm to people and has remained in this state for more than seven years.
In Worm, Taylor crosses it after failing to prevent The End of the World as We Know It and witnessing the devastation caused by Scion's rampage, which killed her father. She would have killed herself if not for Tattletale.
At the climax of the story, Taylor invokes this against Scion by taking away his hope of reuniting with his counterpart, and he allows himself to be killed.
Yahtzee: *weary sigh* Remember when shooters were about killing demons from hell? Those were good days. Perhaps this is an inevitable part of gaming growing up as our childish fantasies are torn from us, and we are forced to confront consequences in an unfair, uncaring and unavoidable world of hatred, misery, and death. *Farting noises.*
This was also parodied when 90s Kid saw a scene of Superboy Prime killing a pregnant Lana Lane in an alternate universe. That scene was so un-radical to him, that he didn't think he could ever be hardcore again after seeing something like that. Fortunately it just takes a comic by Rob Liefeld to get his spirits back up.
The Angry Video Game Nerd crosses it after playing Desert Bus, and realizing that other people are playing it (and that someone even made an Atari 2600 version of it). He concludes that all the work he's done to warn people about shitty games has fallen on deaf ears, and that it's all been a huge waste of time, so he decides to retire. He soon changes his mind after playing a Simon's Quest romhack that did its best to fix all of the problems he had with the original, showing that at least someone out there is listening to him.
In Takotsubo: The story of a superhero, the prologue is treated more like a Downer Beginning than a Superhero Origin. After the Chinese-American Cord Cai loses his fiance Roland Fujii in a carjacking, the police force utterly fail in dealing with it. After a suicide attempt, Cord tracks the murderer down through gang connections, shoots the murderer in the head, and becomes a gangster because he thinks this is his only choice. The worst part is that Cord and Roland were trying to leave the street life, and it's implied he views Roland's death as punishment for getting above his station. Being a Genre Deconstruction of superheroes—and specifically, the lack of Asian-American heroes—Cord's tangled up in Internalized Categorism, and the main script is stated to be Cord's journey of coming back from the horizon.