In Trigun, Vash the Stampede sometimes plays up the horror factor that his reputation gives him, since it gets him out of fights and he actually has a strict moral code against killing. He's done the sneak-around-and-pick-your-dudes-off thing and the Implacable Man advance-while-singing-a-terrifying-ditty-about-genocide song: "Total Slaughter, Total Slaughter, I won't leave a single man alive. Ladi-Ladi-Die, Genocide. Ladi-Ladi-dud, an Ocean of Blood. Let's begin the killing time."It didn't work, though kicking a rocket fired from an RPG by the terrified mook, AFTER singing that, into the ceiling DID work.
Monev the Gale found out the hard way how scary a genuinely angry Vash can be when Monev gunned down a bunch of innocent civilians. He compared Vash's Glowing Eyes of Doom to the eyes of the devil himself.
In Hellsing, this is usually how battles between Alucard and the mooks go. Indeed, Alucard seems to do this on purpose because he thinks it's funny.
Case in point: Walking very slowly down a corridor towards an elevator full of mooks despite having Super Speed , or allowing enemies to shoot him up a bit, just to make them think they had a chance.
When Seras drinks Pip's blood, her transformation is enough to terrify Nazi vampires.
In Berserk, this befalls Mooks trying to arrest or kill Guts.
In Baccano!, Claire Stanfield versus the Lemures and Ladd Russo.
One flashback scene shows Jacuzzi being threatened by Russo's thugs, and true to his Cowardly Lion nature, Jacuzzi ends up pleading with them to leave him alone so his friends won't kill them/pleading with his friends to show some mercy. The thugs, believing Jacuzzi is alone, don't take the hint and are taken out by Jacuzzi's gang, who all sport Glowing Eyes of Doom.
Fist of the North Star has this when Ken annihilates Jackal and his gang for what they did to Taki and Toyo. The chapters in question bear names like "Rage! To the Depths of Hell!", "Death to Mad Dogs!" and "A Challenge to the Devils!", though the TV series episode featuring Kenshiro's Roaring Rampage of Revenge is a lot more fitting — "I am Death Itself! I'll Chase You to the Ends of Hell!"
Kazuma of s-CRY-ed has been pictured like this on at least one occasion — during his Unstoppable Rage following Kimishima's death, when he tears into a squad of ordinary HOLD troops. We get to see his approach from Scheris's viewpoint — an unstoppable monster stalking out of the flames, spreading death and destruction in his wake...
Lan Fan has a He's Back moment in which she shows that she's recovered from the loss of her arm by rescuing Ed and his group from Gluttony by cutting Gluttony to ribbons with the blade attached to her automail. It's an awesome scene, but it's initially shown from the perspective of Gluttony, an Obliviously EvilPsychopathic Manchild who is overwhelmed with pain and fear.
Toward the end of the series, Mustang goes on a Roaring Rampage of Revenge against Envy, and despite Envy being one of the most sadistically cruel characters in the series, you actually feel kind of bad for it.
"Greedling" helps the rebel forces hold back the soldiers loyal to Central Command. This entails a Terminator-inspired scene where Greedling is in the Ultimate Shield Instant Armor and smashes tanks like toys while the enemy soldiers futilely try to shoot him. Someone on the heroes' side even comments "Good thing he's on our side."
In a humorous example, at one point, Ed is being hunted by soldiers from Central Command after going rogue. In a scene shown from their perspective, an unseen Ed calmly takes out the group looking for him, finishing up with the unfortunate soldier who, when describing Ed, just had to note his short stature.
Dragon Ball: Vegeta gets a scene like this when he stalks a completely outmatched Jeice throughout Frieza's ship horror movie style, including many instances of Offscreen Teleportation, before finally killing him as he vainly attempts to fly away. Neither of them are good guys at this point - Vegeta's in the middle of an Enemy Mine with the heroes, but doesn't let this stop him from being as sadistic as possible.
Vegeta is like this to many of Frieza's other Mooks. In particular Cui, Dodoria, and Appule, who was watching him heal in Frieza's ship.
And the only reason Trunks didn't achieve this with Frieza's henchmen was because it took him about 3 seconds to kill about 20 of them.
Even Goku got in on the action: and he did as early as his childhood adventures. Just watch him tearing though Red Ribbon Headquarters to get the Dragonballs as a fine example. He dodged shell fired from a rocket launcher literally meters across, then slammed the soldiers into a wall; shrugged off a sniper shot as if it was a pellet from a BB gun, terrifying the sniper; then he kept punching through the ceiling to reach the leader's floor.
Super Saiyan 2 Gohan, especially in an anime, where he certainly takes his time to kills Cell Jrs. while they're shaking in fear. To drive the point home, the screen turns creepy blue whenever a mook dies.
Casshern Sins: present in almost every fight scene and is a major plot point.
Isekai No Seikishi Monogatari has Kenshi scaring the crap out of his enemies in episodes 8 and 11. Episode 8 even shows closeups of two random Mooks crying and shivering in pure terror as Kenshi rips through them like tissue paper; he also does a convincing imitation of the tactics of the creature from Alien to take down a squad of mecha trying to hunt him down. In episode 11, he goes berserk in response to a particularly dirty tactic and actually kills the guy who came up with that plan in the first place.
The intro to one of the G-Generation games does this almost literally, showing a squad of Zakus getting stalked and murdered Predator-style by Gundam Deathscythe.
Often, the scene will include a Mook screaming some variation of "It's a GUNDAM!" Memetic Mutation happened, and fans decided that saying this phrase means you are very quickly going to be killed by a Gundam.
The original series did it very well, by giving us Char 'Red Comet' Aznable, so feared that his entering the battle provoked an Oh Crap moment (and would continue doing so for the entire series), attacking the Gundam with everything he had and realizing he was Shooting Superman. Later Zeon mechas had weapons that could theorically destroy the Gundam, but by that point Amuro's body count justified his nickname of White Devil, and in one occasion we were treated to a Zeon force that outnumbered the heroes four to one and outgunned them by six to one being effortlessly destroyed by the Gundam, with the viewers' point of view being the one of the Zeon's commander having an Oh Crap moment.
MS IGLOO gives a nice example in the third episode, which takes place just a bit after the Gundam makes its debut on the battlefield. We see a three-second video of the Gundam chopping up a Zaku... from the Zaku's perspective. What with the Gundam's pitiless face, glowing yellow eyes, and the sheer terror in the pilot's voice, it's very obvious why Zeon decided to call it the "White Devil".
Sayo being hunted as a dangerous ghost in Mahou Sensei Negima! plays this up, giving a terrifying insight into how Setsuna and Mana handle their "work".
The first two chapters of Dance in the Vampire Bund featured a couple of these. A squad of fully equiped (although clueless) mercenaries end up fleeing a trio of maids shrugging off machine-gun fire and tearing them bodily apart only to run into a contingent of Mina Tepes' personal werewolf guard. Meanwhile the assassins that were loaded for vampire and using the mercs as a distraction corner a seemingly preteen girl and her personal servant (who proves useless beyond giving a warning)... itdoesn'tmatter.
Naruto of all people manages this during his fight with Pain, where he appears as a pair of glowing eyes in the darkness (Gamabunta's mouth) before killing one of Pain's bodies.
This usually happens in One Piece when a notable character launches a one-man charge on his enemies. A more literal example would be during a flashback on Thriller Bark, at the time of Brook's rampage as the Humming Swordsman five years prior to the story. Hilariously enough, the one doing the scaring is also scared (Having an admitted fear of ghosts) and is only moving with the speed and lightness of a skeleton so he won't have to look at the zombies.
Perhaps one of the biggest examples is Luffy charging into Enies Lobby and spending many chapters just running around and annihilating everything in his path while the Marines panic.
Heck, one of the best examples in the series has got to be the Straw Hats vs. the Franky Family, well, it can potentially be called a fight. Early in the Water 7 arc, the Franky family steals a sizable amount of money Usopp had been guarding, and proceed to beat him up and mock him when he shows up at their hideout to try and get it back. When Luffy, Zoro, Sanji, and Chopper learn of this, they immediately head off to said hideout themselves, and kick off their entrance by punching out a Giant Mook unlucky enough to have been leaving for an errand right when they get to the front door. After that, the four proceed to blow though the Franky Family's best defenses like they weren't even there, swatted aside their best attacks effortlessly, and then systematically block off every one of their escape routes, all the while beating the everliving crap out of them one by one. When one tries to point out that the stolen money isn't with them and beating them up won't solve anything, Luffy simply punches him out and informs the remaining members that he couldn't give a rat's ass; all he's interested in is revenge for Usopp. This sequence definitively shows that, as goofy as the Straw Hats are, it is a terrible, terrible idea to make enemies out of them.
A more recent anime example in the Punk Hazard arc. Luffy, Zoro, Robin, and Usopp are leaving the "fire" portion of a Hailfire Peaks style island, and are crossing a freezing cold, shark infested lake to get to the "hail" side. On the way, Brownbeard and several Mooks manage to capsize their boat, sending them into the water. After Brook manages to distract the group at a critical moment, they then find that Zoro had easily cut apart all of the sharks that were after them, and all four are on a plateau above. They're all half-frozen over and look like death, but they still manage prominent Slasher Smiles at the group as they each calmly point out which Mook they're going to steal a set of winter clothes from, freaking said Mooks out to no end. Finally, Brownbeard recognizes Luffy, which is enough to convince everyone to just get the hell out of there, though too late to prevent the winter clothes from getting stolen anyway.
An interesting example on Metal Fight Beyblade. Reiji loves to torment and scare his enemies into broken wrecks during his battle. Ginga turns the tables on him during their fight by exploiting Reiji's own fear of his enemies not being afraid of him, sending him into a fear-induced Villainous Breakdown.
Elfen Lied starts out with half an episode of this trope courtesy of Lucy, who escapes from her cell, strips naked (except for her creepy helmet), and cuts a bloody swath of destruction through the facility. She encounters dozens of heavily-armed guards and kills them messily with what seems like very little effort. She also decapitates an innocent bystander who had no idea what was going on and wouldn't have been an obstacle, just to make sure the audience finds it impossible to sympathize with Lucy... until her character development.
Whatever you do, do not seriously piss off Accelerator. He's a fairly laid back guy most of the time, but if you try and harm Last Order, this trope comes into effect in a BIG way. Hound Dog had the misfortune of kidnapping her and then trying to kill him: the result was absolutely horrifying.
Vision of Escaflowne has a scene in which Van goes completely apeshit and effortlessly slaughters all of Dilandau's Dragonslayers. Most of the action isn't shown— there is only the sound of the unfortunate soldiers' screams over Dilandau's intercom. Hint: when your heroic protagonist can make the villain (who's been established as a completeandutterlunatic) freak out, it's a sign that things have gone very, very wrong.
The gunfight between Revy and the Neo Nazis on board their ship in the Black Lagoon anime episode "Moonlight Hunting Grounds" quickly turns into this, with her cold-out murdering nearly everyone in her path while in the grip of full-on dead-eyedWhitman Fever. It's even more so in the manga, where Revy goes so far as to kill the main deck crew, who weren't even Neo Nazis, and were only doing it for the money.
Katanagatari: Episode 4 segues away from the main duo to focus on the Maniwa Insect Squad attempting to abduct (Spoilered to protect the twist, use discretion-) Shichika's sister Nanami, to use her as a hostage. The episode takes the viewpoint of the Insect Squad, who are all fairly decent people for assassins. They all somewhat like each other, and one of them is even getting married after this mission. And then Nanami turns out to be an unstoppable, gifted,Cute and PsychoInstant Expert who just happens to look like a little Ill Girl. She tortures one for information, and then murders them all by mastering and then using their own ninjutsu against them.
"There's no point in trying to commit suicide. I removed your poison molar while you were sleeping. ...I'm afraid I'm going to have to torture you now."
Both seasons of the anime Sekirei begin with one of these, as human soldiers come face-to-face with super-powered aliens. The second season, in particular, is noteworthy since the same incident is shown from the point of view of the Sekirei a few episodes later. This incident is the reason the SingleNumbers inspire so much fear among the younger Sekirei. The first five wiped out a multi-national invasion force in a matter of minutes, with barely any effort. Witnessing the destructive power of their subjects filled Takehito with horror, triggering a My God, What Have I Done? moment. Big Bad Minaka, on the other hand, is inspired to begin the Sekirei Plan with the intention of forging a "New Age of the Gods".
Striking fear into criminals is kind of Batman's whole shtick, to the point that a yellow ring tried to conscript him into the Sinestro Corps, which is powered by fear. In other words, the ring decided that Batman was the scariest thing in the entire space sector.
And the only reason it didn't take was because it detected previous contact with a green ring.
Later, during Blackest Night, a Sinestro Corps ring decided to settle for Scarecrow. Granted, Batman was going on his exodus through time during that event, so the ring wasn't able to try for the Caped Crusader again.
It's easy to forget because of his family-friendly portrayals, but Spider-Man sometimes comes across this way, especially when he intervenes in muggings. Just imagine how you'd react to a gruesomely contorting silhouette with wide, staring eyes scuttling down the wall at you...
One particular Spider-Man instance, he was fighting a costumed mercenary in a secure medical facility. The mercenary didn't realize that he was out-matched, until Spidey tore a reinforced steel fire door from the wall and threw it at him. Effortlessly. After that, the mercenary was fleeing in terror. Ordinary opponents generally don't realize what the friendly neighborhood Spiderman is capable of.
There's another bit where one of his enemies has hired a professional merc team to take Spider-Man out. They "chase" him into Central Park and, while the leader is giving a rousing speech about how Spider-Man's rep had to be overblown and that he was just an amateur and to play by the numbers, Spider-Man is taking out each of the other mercs behind the leader one at a time, while they're traveling in a tight formation and looking just about every direction except the one that matters (up). The leader ends his speech to turn around and gauge its impact on his men only to find them all gone... and then he goes berserk. Spider-Man ends up leaving the unconscious mercs webbed up around the house the enemy who'd hired them was using for a base of operations. Think it was the Changeling... he freaked out.
On his Anti-Hero days, Venom has this trope even more strongly. He even threatens to eat your brains! Backfired once, though. Rescuing an innocent girl from perceived danger? Okay, cool. Being a giant slime monster with foot long teeth gave the girl horrible nightmares.
Titania was on the receiving end of one of these during the Secret Wars. Coming fresh off of a No-Holds-Barred Beatdown of She Hulk, Titania was feeling pretty smug and superior... and then Spider-Man showed her just what smug and superior really meant. It culminated in Spidey tossing her through a wall and over a cliff casually, and Titania having a phobia about facing the web-slinger that lasted for years.
The Punisher: In a Marvel MAX annual, from the POV of an arsonist, being pursued by the Punisher through Manhattan. It never once gave the Punisher's perspective; he was presented as simply an unstoppable force that the criminal just couldn't get away from.
Even Supes gets in on the act from time to time. If he's mad or in a big hurry, he will forcefully remind his enemies just how powerful he really is. At this point, be prepared to see dozens of near Physical God villains run for the hills.
Once done when an enemy had made him very sick. He reminds the villains that he now cannot control the force of his blows. Yes, that's right, Superman is so awesome that making him sick only makes him more powerful.
The animated movie Superman vs. the Elite has Superman doing this to the Elite to show them why a superhero shouldn't kill people. The result is downright terrifying.
Much like the film adaptation, The Crow is set up somewhat like this.
Sometimes used with The Phantom - even more than Batman, he is a Bad Ass Normal who depends on the mooks thinking him a supernatural menace, so it fits.
The most egregious examples come from the ending chapter and a side story: in the ending chapter the Beagle Boys, numbering eight with Granpa Beagle, are running from the Money Bin with some stolen money, only to discover that they're being chased by SCROOGE, causing Granpa Beagle (then the only one to have met him before) to faint in terror before Scrooge effortlessly knocking them out while complaining of old age; in a side story set in Klondike a group of mooks who had already faced him once learns they can steal Scrooge's minerary concession if they prevent him from talking with Goldie, decides to beat him up and give him to the Mounties (It Makes Sense in Context), but upon learning there's only two dozen of them they try and search for some other people.
Probably the most epic example comes from X-Force: After having been recaptured by Kimura and tortured, Laura makes her escape by flooding the entire base with the trigger scent via the sprinkler system. Even Kimura, who Laura can't even harm to begin with, responded with an Oh Crap. We should probably also mention that Laura only has one arm at the time thanks to Kimura doing some work on her with a chainsaw before she got loose.
Come to think of it, herprogenitor has a few of these under his own belt.
One of the most notorious events happened during the Hellfire Club's abduction of Jean Gray/Phoenix. All the other X-Men were either captured or incapacitated, Wolvie's sent down a storm drain in a flood. He washes up in the basement, and proceeds to stealthily go up level by level, since even HE can't fight the whole club at once. "Stealthy", in this case, meaning "gut everyone in the room before they can make noise." He gives an utterly terrifyingdescription of what he and his claws can do to one poor schlub, grabs him up to start interrogating him, and mentally notes to himself that he's toned down since joining the X-Men, since he actually let this one live long enough to even answer his questions. AFTER, it must be reminded, he just eviscerated a few dozen other guards on the way up. This scene also shows up in the animated series — the series obviously cut out the slaughter but still had Wolverine telling the mook that his adamantium claws could cut through the mook's armor like a hot knife through butter and implying that they could do worse to flesh.
Sin City loves this trope. Wallace, Miho, and Marv have all inspired a great deal of dread in their enemies.
In Astro City, a small-time crook sees the superhero Jack-in-the-Box change into his civilian clothes. At first he thinks he's struck gold by discovering this potentially valuable information, but then starts to imagine all the ways in which selling the info could go wrong, including nightmares of being pursued by Jack (a light-hearted-yet-potentially-scary Spider-ManExpy). He eventually gets so stressed out he leaves town without revealing the secret to anyone.
Batman & Robin #23.4 is Killer Croc's Villain Month issue; in it, he stalks and kills a GCPD SWAT team in the sewers below the city. It's told through the cops' perspective, and it reads like nothing so much as a Texas Chainsaw Massacre comic. Fitting, as it was written by Tim Seeley of Hack Slash fame, a huge fan of slasher movies.
One Transformers fanfiction used this trope when Sunstreaker, believing that the Decepticons had captured his brother, assaulted the Decepticon base by himself and brutally murdered many, many mooks in a way that impressed many of the 'Cons watching security footage of the attack in progress. As one Decepticon put it, "Why isn't this guy a Decepticon? Seriously, why did we never recruit him?"
In Tiberium Wars, the introductions of the Nod and GDI commandos are both cases of this. The Nod commando's initial appearance is as an untrackable, cloaked, and impossibly precise killing machine gunning down whole GDI squads by herself. The GDI commando, meanwhile, is an unkillable juggernaut with superhuman strength and a railgun capable of blowing soldiers to ribbons, but is still a surprisingly clever tactician who outwits and outguns his opponents.
In XCOM Second Contact, the initial (hostile) contact between Turians and Humans abruptly switches to the Turian perspective at several points. The Turians against a human XCOM squad that breaches the bridge of one of their ships find themselves fighting against plasma weaponry and psychic powers. It doesn't go well for the Turians.
In the Buffy the Vampire Slayer/Smallville fic Stakes and Fenceposts, Clark Kent is portrayed this way to the Buffy-verse villains and heroes. It gets to the point where The First Evil stacks the odds overwhelmingly in Caleb's favor: surrounding the city in a forcefield so Clark can't leave and the sun is blocked out so he can't recharge, triggering an earthquake and other disasters so Clark has to rescue the citizens and tire himself out, mutating Caleb into an Eldritch Abomination with incredible strength, speed, durability, and magically toxic Sinister ScytheCombat Tentacles, magically making Caleb untouchable to Clark's blows and immune to his heat vision, and backing him up with an army of vampires all armed with kryptonite swords and machine guns loaded with kryptonite bullets. Despite this incredible advantage, Clark annihilates the vampires before they have a chance to come near him, and takes down Caleb with a combination of his powers and wits. Caleb gets an inner monologue where he expresses how utterly outclassed and terrified he is, and without the advantages he would have died in a instant, considering Clark the real monster. Buffy and the others, watching from a safe distance, are terrified as well. The First also made one huge mistake: It didn't know Clark can fly.
This video shows Batman through the eyes of inexperienced thugs, much like many of the other examples on this page.
Pops up near the end of Waterworld, when the Mariner boards the Smoker vessel. After murdering one of them, a group of Smokers start hunting him throughout the ship. He slowly picks them off in a segment interspersed with scenes of the Morality Pet bragging about how the Mariner will kill them all.
Kill Bill: The Bride's battle against the Crazy 88, in which she utterly spanks them. (literally, in one case) It's nearly 20 minutes long!
Similarly, pretty much any Steven Seagal film. Case in point, Hard to Kill. Yeah, the bad guys killed his wife and put him in a seven-year coma, but the way Mason Storm stalks and kills them one by one, taunting them the whole time, you can't help but pity them. Especially the one he runs down and publicly executes with a neck-snap in front of all of Chinatown and his own son.
In the Iron Man 1 film, Tony's escape from the cave in a huge, unstoppable suit of powered armor is played out a bit like a monster movie. He does it again when he goes back to Afghanistan and kills all the terrorists with his new upgraded armor.
In The Scorpion King, the hero uses a sandstorm to force a bunch of Mooks into a cave, where he kills them one by one.
Who could forget the opening hit scene of Leon, The Professional? Leon knocks off the drug henchmen one by one - pointblank headshot, garrotte from the ceiling panel, pulled over the stairwell by a necktie, numerous unseen shootings - without anyone (mooks or viewer) ever laying eyes on him. "Those bastards blocked both the exits," mutters the kingpin, when seeing one of his mooks hanging by the neck on CCTV. (He ends up with a knife to his throat, produced by a disembodied arm out of shadow.)
In Batman Begins, some of Batman's first attacks on criminals are filmed this way. Not to mention their POV of him gliding over the city while they are under the effects of the Fear Toxin. Plus the scene of him interrogating Jonathan Crane, a.k.a. Scarecrow, who at the moment was being Hoist by His Own Petard.
Hit-Girl of Kick-Ass, particularly during her night-vision FPS shootout scene where she's shooting gangsters left and right as they're unable to see her under cover of darkness. Done again in Frank D'Amico's penthouse when she prepares to shoot a cowering mook on the floor, runs out of bullets and runs to the kitchen. The mook stands some distance away and unloads automatic fire on the spot she's hiding in, lowers his gun and looks away in assumed success, and gets a pair of flying kitchen knives in the chest.
Big Daddy's more literal "show", the warehouse massacre, witnessed by Chris via a hidden cam is unsurprisingly terrifying from his point of view. Whilst more subdued in his reaction, his father is still clearly shaken by what he sees.
Frank D'Amico: "Who the hell is this guy?!"''
Star Wars Episode I - The Phantom Menace shows the Trade Federation leaders panicking as the implacable Jedi make their way to the bridge, mowing down any droids they send against them.
Robocop has shades of this. He is effectively bullet-proof, slow but nigh-unstopabble, more machine than man, and has perfect aim. Most bad guys try to run while Robocop walks after them like a typical horror movie villain. His early arrests of Emil and Clarence in RoboCop (1987) both emphasis their utter helplessness when face-to-face with him.
At the end of the remake of Bangkok Dangerous Joo stalks and efficiently kills many gangsters as they grow increasingly jumpy and frantic.
In Desperado, the opening scene has El Mariachi's character reintroduced this way as Buscemi narrates over one of these.
Dead Man's Shoes follows the victims whenever the main character confronts them.
When Babydoll kills two of the demon samurai, the third is shown hesitating and trembling. When he finally draws his katana and charges, she kills him in a Single-Stroke Battle.
In the WWI sequence, two German soldiers spot Babydoll walking toward them and try desperately to set up and load a massive lewis gun, but fail and are cut down. After he crashes, the German courier tries to ward off Babydoll with his gun, and is shocked when she deflects his bullets while marching toward him.
A scene in Air Force One stages a shootout in the baggage hold of the eponymous plane; it's entirely from the perspective of the Russian baddies, while the hero, the President, is seen only as a vague silhouette delivering death to the terrified mooks.
The James Bond films rarely go here due to the necessity of keeping Bond a positive character. There have been exceptions:
After Bond sends a mook on skis careening over a cliff in On Her Majestys Secret Service, the camera stays on the mook as he takes his long, final, fall to his death.
The death scream uttered by the unnamed villain whose parachute Bond steals at the start of Moonraker is one of the most disturbing sounds ever heard in cinema.
The way Bond kills the bald man (i.e. the expy Blofeld) at the start of For Your Eyes Only could trigger this trope in anyone with claustrophobia.
Dr. Kaufman, in Tomorrow Never Dies, is one of the only characters in the Bond film canon to be heard begging for his life before 007 kills him anyway.
A very subtle one occurs in the 2006 version of Casino Royale. When Bond shoots the corrupt section chief in his office, for a split second a close-up of a photograph on the man's desk is shown - an image showing him with his family.
In Resident Evil: Apocalypse the S.T.A.R.S. squad who are targeted by Nemesis who massacres all of them, except for the taxi driver who is spared.
Early in The Shadow, some mooks have fitted an old man with cement shoes and are about to drop him into a river when the title character shows up and picks them off unseen, taunting them with wisecracks and his signature laugh as he goes.
In The Rookie, Charlie Sheen's character instantly switches from coward to badass when his partner (Clint Eastwood) is kidnapped. The trope kicks in when he enters a bar in which he previously had the shit beaten out of him. First he breathes fire on the bartender, beats up half the patrons and fires off several rounds from his gun - at this point, the patrons are standing in stunned silence. Then he trashes the place and sets fire to it, at which point they all flee in terror.
In The Long Kiss Goodnight, Charlie's rampage through the farmhouse is told from Mitch's point of view. Being locked in the basement, he can only hear it.
In Act of Valor, all of the major gunfights the SEALs get in invoke this on the part of the terrorists/cartel soldiers. The parts shown from their perspective as they (try to) fight the SEALs shows them facing deadly squads of elite soldiers who are slipping among their positions in total silence, snipers picking off their men as they try to flee, and deadly-coordinated SEALs cutting down their troops with precise shots.
The Flying Man short film gives us the POV of one mook growing more and more freaked out about the mysterious, terrifying, Flying Man, a hardcase super-hero-vigilante, who somehow knows how to find criminals, and is willing to execute them on the spot.
In Discworld, Rincewind uses The Luggage to terrorize his foes. Or rather, he hides while the Luggage... entertains itself.
In Thud!,there is a brief section about some dwarfs in a cave, when suddenly, a pale, bloody human with a sword and axe stands on a rise above them... And it says, Is that my cow?
In Jingo!, Reg Shoe's attack on some enemy soldiers is narrated this way.
In NightWatch! you see Reg's transformation into a zombie... him refusing to die after being shot (with arrows) seven or eight times in the chest at point blank range. The archers don't take it well.
Likewise for criminals with the bad fortune to cross paths with Angua.
Anita Blake is this to vampires as told by Jean-Claude, who is the Master Vampire of St.Louis. "To us, you are the boogeyman who snatches young foolish vampires." Or something like that. And when she executed a were serial killer in the middle of a mall in front of small children who looked horrified that she was going to kill him after she strolled up to him in the food court. Then she snaps at a werewolf who annoyed her on the phone, who breaks down in tears and blubbers for her not to kill her. It helps she's a licensed Executioner who can kill vampires and weres legally. Oh, and one of the most powerful necromancers in the United States.
It's even worse with Edward, the Badass Normal vampire hunter that Anita occasionally works with. Vampires call her The Executioner since she's killed so many of their kind, but they just call him Death.
In the Dale Brown novels, this generally occurs when TinMen or CIDs are around and there're no anti-tank weapons in the enemy's reach.
There seemed to be nothing they could do to check her. She came and went as she chose, whether in the sea or in the dense floating forests, and was traceless as a ghost. Moreover, those who had the misfortune of encountering her did not report the fact. They simply disappeared.
Jack Fleming from The Vampire Files has employed this trope occasionally, using his vampiric powers to feign a haunting in an early novel and to completely scare the crap out of gangsters in his later, grimmer adventures.
In The Dresden Files, the title character starts as a rather pitiable wizard trying to work his way out of professional disgrace. Several books and a pile of supernatural bodies later, he suddenly finds his opponents backing down or outright fleeing rather than face him, and is several times rather abruptly reminded of what he looks like from his enemies' point of view. The books are narrated in the first person so we never get to see it, but it's discussed several times.
He lampshades this himself in Turn Coat. He is facing no less than 5 Wardens and 3 members of the Senior Council and they are afraid to fight him. Then he remembers something... "They were dealing with something far more dangerous than me, Harry Dresden, whose battered old Volkswagen was currently in the city impound. They were dealing with the potential demonic dark lord nightmare warlock they'd been busy fearing since I turned sixteen. They were dealing the with wizard who had faced the Heirs of Kemmler riding a zombie dinosaur, and emerged victorious from a fight that had flattened Morgan and Captain Luccio before they had even reached it. They were dealing with the man who had dropped a challenge to the entire Senior Council, and who had then actually showed, apparently willing to fight-on the shores of an entirely too creepy island in the middle of a freshwater sea."
In a short story focused on Karrin Murphy, she thinks a bit about Harry and how he's a nice guy, weird and goofy and eccentric, but his magical knowledge can sometimes seem like Sherlock Scans, and when he needs to deal with something that can survive being thrown through a city block, he can do the throwing.
The title character of the Stephen King novel Dolan's Cadillac seeks revenge against the title character, who ordered a hit on his wife. To this end he quits his job as a teacher and becomes a road worker in order to set a trap for Dolan when he passes by in his you know what. He digs a large hole and covers it with a weak stretch of road so that the Cadillac plunges into it. He then taunts Dolan for a while before filling up the hole.
David Gemmell characters tend to get at least one chapter narrating their pursuit or onslaught from the perspective of minor villains, bandits or so on. The gold standard would be the opening of Hero in the Shadows, which details a band of raiders meeting their ends at the hands of an ageing Waylander.
In the Dracula episode, we see a vampire running madly through a graveyard... and then we realize he's running from Buffy.
Another example is in "Pangs" which opens with a handsome fresh-faced youth with "Victim of the Week" written all over him creeping through the woods, then starting in fear as he comes face-to-face with the Big Bad Buffy. Turns out he's a vampire.
In The X-Files, one episode opens with a teenage boy fleeing some off-camera pursuer, frantically yelling for help. It's to no avail, as his pursuer catches up and kills him... with a stake to the chest. It's Mulder, and he was vampire hunting.
In an episode of the 2010 series Human Target, a plan to infiltrate the well-guarded mansion of a tycoon with Ilsa's help goes awry, and Ilsa is captured. Chance, thanks to his Unresolved Sexual Tension with her, single-handedly goes to rescue her, mowing down the tycoon's mercenary army. All this is shown from the viewpoint of the tycoon and his Dragon, whose faces get more horrified at the closing sounds of gunshots, screams, and shouts of "he's unstoppable". Chance then bursts into the room and guns down the rest of the Mooks. All with a pistol.
Chance is not unique in this regard, although he is the best. Guerrero's name is enough to scare the wits out of any criminal or even a mob boss, and the guy himself looks like a Hollywood Nerd. Baptiste is also just as Bad Ass, which makes sense, since all of them went through the same school.
An episode of Charmed opens with a young boy walking to an ice cream van in a dark alley.
Ice cream man: Would you like some ice cream, little one? Young boy: Yeah. Ice cream man: You didn't say "please". Young boy: *screams before opening credits*
Later, we learn that the ice cream van is a trap set against prepubescent demons.
The opening of Doctor Who episode "A Good Man Goes To War" invokes this on behalf of the villains, as they prepare for an imminent attack by The Doctor. One scene has the Cybermen deal with an off-screen attack destroying parts of their base. "Intruder level 11! Seal off levels 12, 13, and 14! Intruder level 15!" Although it turns out the attacker is not The Doctor, but, in fact, "The Last Centurion" Rory Williams.
"Imagine you were dying. Imagine you were afraid and a long way from home and in terrible pain. And just when you thought it couldn't get worse, you looked up and saw the face of the devil himself."
We then see that the entire scene has been shown from the point of view of a damaged Dalek, who starts screaming "EMER-GEN-CY! EMER-GEN-CY!"
In the season six episode of Stargate SG-1 "The Other Guys," when SG-1 is attacking the Jaffa guarding the stargate O'Neill, Carter and Jonas use the standard "shoot them with zats" approach, but Teal'c instead waits for a Jaffa to run past him and erupts out of a lake and drags the Jaffa down into the water.
In the final season of 24, possibly the crowning moment of Jack Bauer's Roaring Rampage of Revenge was the scene where he stops traffic in an underground carpark and proceeds to tear his way through a small army of mooks while wearing head-to-toe body armous and a big black goalie mask.
An early episode of Angel opens with a demon fleeing from a "rogue demon hunter" on a motorcycle. In a comedic twist, it turns out it's Wesley.
The series finale of Spartacus: Blood and Sand opens with Gannicus and an offscreen accompaniment of warriors slaughtering a hapless bunch of Romans, leaving one alive to tell the tale.
Wrestlers like The Undertaker and Sting during face runs will often have segments or promos that count as this, with the various mind games and scare tactics they use to scare the living hell out of their heel adversaries. Depending on execution, these segments could range from total Narm, to Crowning Moment Of Awesome.
A picture perfect version of this was in TNA, when Sting, Fortune and Kurt Angle teamed up to do this to Immortal on the July 14th episode. The former had the other five dress up as Monster Clowns and pick off Immortal one by one. Gunner even attempted to invoke Final Boy in the end, but it didn't work. During Sting's title match with Mr. Anderson, Bully Ray showed up to try and help Anderson win, but then Angle, still in clown gear, appears and takes him out. The lights go out and Anderson finds him alone in the ring, Kurt standing on the entrance ramp, leaving Anderson in a panic that lets Sting win.
"Who knows what evil lurks in the hearts of men? The Shadow knows!" Listen to the opening here
This is Exalted, from the right (wrong) perspective. Normal people are called "Extras" for a reason, and playing a campaign as Heroic Mortals is more a question of "what kills you and how" than anything else.
To normal people, the lowest forms of supernatural beings - Hungry Ghosts, Commoner Fae, First Circle Demons, Lesser Gods and Elemental Spirits, Enlightened Mortals - are nigh-unstoppable monsters. Terrestrial Exalted are elemental super-soldiers designed to brutally slaughter the aforementioned "monsters" in droves - and said super-soldiers are in turn little more than mooks to experienced Celestial Exalts.
The scene where the ninja slaughters the guards in Metal Gear Solid: The Twin Snakes. It makes a point of zooming in on one mook's face as he fires blindly at the invisible thing slaughtering his comrades so the player can see the absolute fear in his eyes, before said invisible thing runs him through and leaves him bleeding to death on the floor.
In Alone In The Dark 3 Edward Carnby bursts out of his grave miraculously alive and well, causing the undead guy who had just finished burying him to flee in terror.
In The Elder Scrolls IV: Oblivion, there's a mission where a cast of diverse characters is locked in a mansion with a mysterious killer. It's no mystery to the player, since it's an assassin's guild quest.
The intro to an SD Gundam G-Generation game featured a bunch of Zakus getting hunted and killed, Predator-style, by the Gundam Deathscythe.
The Metroid Prime series highlights it if you read some of the Space Pirate's mission logs, increasingly desperate recordings of how "the Hunter" is tearing through their forces. This monster is of course Samus Aran, the player character.
Prototype has its main character Alex Mercer pull more than a few horror-movie tricks in cutscenes, just in case his powers weren't already scary enough in-game. They include Offscreen Teleportation, shrugging off being riddled with lead, leaving fingerprints and footprints in his targets' blood after he's done with them, popping back up after being "killed", mimicking people without inducing suspicion until he feels like it, and being oddly nonchalant about an enormous bullet hole in his face.
Hell, the intro features him tearing apart an entire Blackwatch squad, rather easily.
Moreover, the fact that you can later have people gunned down by accusing them of being you demonstrates the panic and paranoia you sow among the mooks even outside of your murderous rampages.
And if you sneak into an army base, you can orchestrate it yourself, silently consuming and taking their places one by one, until there are none left.
Oh, as if watching your buddy get lassoed from across the room, yo-yo'd to death, and his liquefied remains getting slurped up through a proboscis sticking from a hoodie-wearing nobody's stomach wasn't worrisome enough. The fact that said nobody's Immune to Bullets is just gravy.
In the sequel to No More Heroes, Travis' new Dark Side move allows him to transform into a tiger. While you're in this form, Mooks go from trying to beat ten shades of shit out of you to tripping over themselves in their efforts to get the hell away.
The first No More Heroes has a similar Dark Side mode: the screen turns black-and-white (except for red for Travis's katana and the inevitable bloodshed) and all mooks in the area start cowaring away from Travis as he walks menacingly towards them and systematically murders them for the duration of the mode.
A video game mechanic in the BatmanBegins games has you messing with the enemies' environment (using batarangs to break the lights, opening steam valves, activating heavy machinery, or simply performing stealth takedowns on their fellow mooks when they're not looking). When you max out their fear meter, you get a Crowning Moment of Awesome as Batman automatically steps out into the open as you see, from the mook's POV, a terrifying glowy-eyed demonic Bat Man.
Max Payne gets like this by the end. There's nothing like tearing through a building of guards and hearing their boss respond to their messages over the PA, "What do you mean, 'he's unstoppable'?"
This happens in parts of 2 with Mona as the killer.
At one point in 3 at the tail end of tearing through a base full of Elite Mook bad-guys, one of them drops his gun, drops to his knees and begs for mercy. There's also a minor mook-on-mook variation when Max lets Serrano loose on the doctor.
An interesting point to Devil May Cry 4 switching away from Dante's perspective from the first half lets the player see the beloved hero as presumably everyone else does; a cocky, stylish, unstoppable killing machine that does not consider you a threat in any way and is wholly justified in doing so. Dante proving That One Boss, far and away more dangerous than anything else Nero goes up against, lets the player see what it's like being on the receiving end of Dante's Showy Invincible Hero shenanigans.
The opening cutscene really serves to sell this. A mysterious man in a red coat smashes through the ceiling, murders your leader, and then assaults an army of trained swordsmen and slaughters the lot of them. He barely speaks, and when he does, it's only to mock you. When you shoot at him, he shoots your bullets out of the air. And this is the guy you played as in the last few games.
Assassins Creed II has two separate instances where Ezio's main targets, Templars, are heard talking about Ezio. The first man is completely paranoid, trying to talk himself into calming down ("He'll... he'll leave. He'll get bored, I'm sure...") and surrounding himself with guards. The second has a near-panic attack when he finds out that Ezio is simply in the same city that he is.
While Ezio had yet to establish his reputation as a supernatural combatant, both targets had actually been in Ezio's presence — the first had been one of the would-be killers of the Medici brothers, the second when Ezio trailed a conspirator to a secret meeting only to be revealed and escape — so they knew already how close he had come to them before; in the time between the targets he'd also developed a reputation as the Assassin.
In both the first game and the second, guards will throw down their weapons and flee in absolute terror after watching AltaÔr or Ezio tear apart their comrades without so much as being scratched in return.
In the case of the second target, it is all the more satisfying, considering you're sitting on the ledge right above him.
Or, in the case of the first, the game encourages you to hide inside the well he's currently pacing around.
A commonly heard reaction to seeing Connor in the third game is "Oh, Hell. We're gonna' need some help!" Said Redcoats could end up torn to pieces in seconds. It is also entirely possible to leave a few bodies hanging from the branches of trees in your wake, or thin their numbers by luring a bear to them.
Enemies in Metal Slug often scream and run away when they see you coming. They do this automatically if you use a continue.
The first game pulls this off on the player in the ending: A surviving enemy tosses a paper airplane, and the view follows it as it flies through the game's stages... littered with the bodies of the scores of soldiers you've slaughtered over the course of the game.
One of the trailers for Star Wars: The Force Unleashed II shows the chained-up Starkiller about to be executed by Imperial stormtroopers. He uses the Force to free himself and knock out the lights. The guards start looking around, shooting at any shadow in near-total darkness, while Starkiller picks them off one-by-one. The last guard starts backing off towards the door, his every shot deflected, until Starkiller impales him with his lightsabers.
In the very first Medal of Honor game, if you blew your cover in the U-Boat mission, Kriegsmarine officers would yell, "It's Jimmy Patterson!" and attempt to mow you down in a panic.
A simple but nonetheless notable game feature in City of Heroes. Sometimes an assassin's strike from a stalker will "terrify" enemies nearby, stopping them from fleeing.
Shadow Complex, definitely. You are just this one random guy who is going through the base and slowly taking it out. Many of the guards at first are like "it's just one guy" but later on they realise how much damage he's doing. And then there's the ways to kill enemies - normally, sneak fisticuffs, headshots, grenades, missiles, ground pounds, environmental factors... all while you slowly advance from civilian to a Power Armoured badass.
In Halo games the grunts will say things like "He's everywhere!" and run away when you kill a lot of them at once. The books also go into grunt points of view every so often, and they tend to be exactly that scared if not more so.
Additionally, Covenant troops often are heard referring to the Master Chief and his fellow Spartans as "demons", both in and out of the games.
Scarface: The World is Yours sometimes requires this if the player wants 100% Completion. Shoot ten out of twelve gang members who hang out at the gas station? The last two frantically run away. Many times Tony ends up mowing them down as they are trying to hijack a car and flee.
The tradition is continued in the Mass Effect 3 DLC Citadel as you slaughter your way through the Mysterious Figure's army of mercenaries.
Random Merc Chatter: Guys, I think we chose the wrong Shepard!
This time it's also extended to Shepard's crew. Note, in this DLC, the entire ME3 crew + Wrex are participating in the slaughter, which consist of some of the most badass people in the galaxy, though, as usual, only two are actually in your squad.
Random Merc Chatter: But they've got a krogan! Why don't we have a krogan?
Random Merc Chatter: I think that turian with him/her is Archangel. How the hell are we supposed to kill him?
Additionally in the combat mission on Mars, Cerberus mooks (humans enhanced with Reaper augmentations) will exclaim "Holy Shit! Its Shepard!" when Shepard attacks.
In the Multiplayer, the Cerberus troops start off professional, but as you kill more and more of them they get decidedly less so. For instance, earlier on, they'll say "Taking casualties" in a calm, professional manner. As you slaughter more of them, they'll scream that same line in panicked terror.
Happens in StarCraft when fighting the Zerg. The cinematic The Amerigo makes especially heavy use of this, and in the tie-in comic books, Marines often panic when fighting them.
A mission actually has Kerrigan teaming up with Raynor's Raiders to free Jim Raynor from a high security prison spaceship. Horner suggest to send Ghost Agents (or Tosh and a spec-ops squad) for stealth, but Kerrigan tells him not to bother. She then proceeds to gracefully waltz in trough the front door, wave of Zerg following her. Nightmares ensue for the Dominion forces keeping the spaceship.
Sam Fisher in Splinter Cell gets this sometimes. Especially prominent in Conviction, where the enemies are occasionally people Sam likely trained and know exactly what he's capable of. Even the less professional mercenaries can be heard loudly challenging Fisher in order to psych themselves up. To bad it also gives away their positions, and is just irritating enough for the player to want to kill them to shut them up.
In Chaos Theory, doing things around mooks like whistling in the dark, destroying lights, knocking their comrades out/killing them and leaving the bodies for them to find and throwing cans and bottles around gradually builds the enemy's fear to the point where they fire blindly at where they last heard the noise or run away screaming. The interrogations also generally have Sam using threats of bodily harm to scare mooks into giving up information.
Sam: (After being asked if he is a spy) Yeah, the real kind, not the tuxedo kind. I'm the kind that makes you bleed all over your Andretti unless you give me information!
In Ace Combat 5, the Enemy Chatter turns from confident to panicked after the death of Chopper as the player's squadron fight all the more fiercely.
And after the sinking of the Hrimfaxi, the Yuktobanians begin calling the squadron the Demons of Razgriz. Its not a nickname either; the bad guys seemingly believe the squadron to be real demons. They eventually decide to play up on this, painting their jets black and calling themselves The Ghosts of Razgriz.
In the Deus Ex: Human Revolution DLC "The Missing Link," the Belltower soldiers will become gradually more and more terrified of Jensen as he pushes through the ship and Rifleman Bank Station, cutting down and shooting and blowing them up as he goes, and they know they can't stop him.
Notably, they're just as terrified when he's getting around totally unseen. It's made very clear that it's still a Mook Horror Show to them, because Adam is a heavily-augmented super-soldier who, upon being forcibly woken from cryo-sleep, managed to kill five armed soldiers single-handedly after being surrounded and it still took eight more soldiers to bring him down. Now he's loose in the complex, he has all his gear back, and they don't know where he is. Hell, even if you keep a low body count, the soldiers will remark that that just means Jensen is "more resourceful and more dangerous".
In Project Sylpheed, Katana becomes this for the ADAN forces. He begins the game as a rookie who is barely able to take out a small enemy cruiser. A few weapon upgrades and some player experience later, he can (and if you want all the achievements, will) be the most effective weapon on his side, tearing through enemy fleets and having entire fighter squadrons directed his way, with most of the enemy ace squadrons either dead or resigned to not being able to touch him.
While he's status as a hero is questionable at best, it's practically a given that Jackie Estacado from "The Darkness" rips apart his opponents with complete animal brutality. By the end of the first game, all the mooks beg desperately for Jackie to spare their lives. This is even more noticeable in the sequel, which has you performing deeper levels of brutality.
Team Fortress 2: In the "Meet the Spy" promotional video, the BLU team are the mooks trying to figure out which one of them is the RED Spy.
And in "Meet the Sandvich", a BLU Soldier and Scout are beaten to death (offscreen) by a RED Heavy.
Coven Member: He's/She's unstoppable! No mortal could slaughter our brethren with such ease!
A journal you find in Act II called "The Feared Hero" confirms that the remnants of Maghda's coven are scared shitless of you:
Dark Cultist: We camp, lying in wait for a hero of incredible prowess. My gut churns with the suspicion that we are simply fodder. I have heard tales of this hero wading through our ranks, slaughtering us as if we were children. I will not sleep again tonight, I fear.
In Half-Life 2: Episode 2, the G-Man coldly and bluntly tells you that the Vortigaunts, aliens from the first game that were aggressive toward you, but are now your friends in the sequels, barely had any experience with humanity, with their first experience being "a crowbar coming at them from a steel corridor".
In Sleeping Dogs, Wei Shen can cause any enemies around him in a fist fight to flinch by grabbing one of their friends and breaking their leg with a stomp to the side of the knee. He can also use the environment to do things like set mooks on fire, impale them on hooks or electrocute them. Typically, the drug bust side missions involve beating down a certain number of guards to hack surveillance devices and end when any remaining guards run for their lives.
In Mark Of The Ninja, this actually works as a gameplay mechanic. Usually, when a guard comes across a dead body, or sees you attack one of his fellows, he sounds the alarm. However, certain particularly brutal kills (such as hanging guards with the chain you use as a Grappling-Hook Pistol, hitting them with a portable spike trap or feeding them to flesh-eating bugs) causes an enemy to enter a terrified state where they can't sound the alert, just scream helplessly and fire blindly, often mowing down other enemies. More generally, you are a blade-wielding Stealth Expert sneaking about casually dismembering the mooks in horrible fashion. Really, it's Mook Horror Show: The Game.
Corvo from Dishonored. Using the Flash Step power to get behind an enemy makes them wonder "where'd he go?", and then you can strangle them unconsious, slit their throat, shoot them in the back, or feed them to a swarm of rats, and if you're good enough at sneaking about, you can do all that without them seeing much more than your terrifying visage and their life flashing before their eyes. That skull mask he's wearing is enough to reduce most bystanders to tears. And that's not even mentioning that you can use severed body parts as thrown weapons.
The waterwraith in Pikmin 2 is a rare example of a boss horror show. Throughout the dungeon, the waterwraith has been terrorizing you with its relentless chase. It's completely invincible, and will kill any pikmin on contact, all while making an unholy gargling noise. Most players consider it the scariest thing in a game with no shortage of horror (seriously, look how long its page is.What Do You Mean, It's for Kids?) But on the final floor, where you have to face it as a boss, you have purple pikmin with you now. It is terrified of that "thud" sound that they make when thrown. Once you get it into its second phase, it is completely incapable of harming you. Its only movements are to either run the hell away, or to cower in fear of that noise.
The opening of Shadow Hearts Covenant involves a unit of German soldiers invading the French village of Domremy. They enter the church, only to hear something taking out the rest of the unit outside. Then a massive, winged demon smashes through the window and proceeds to mop the floor with them. The last thing you see is the demon casually strolling away, and transforming back into beloved protagonist, Yuri.
The preview trailers for Krieg the Psycho, the sixth confirmed playable character in Borderlands 2, show bandits being obliterated by his hulking silhouette in a dark crimson area, particularly as part of experiments being used on him.
In The Last of Us, Joel and Ellie, as they trek across America, begin to get a reputation as the "crazy old man and girl" who are unstoppable killing machines. In fact, in a sequence near the end of the game, when Joel is noticed, the human enemies start running away rather than rush in and attempt to gang up like they have done up to that point.
This is done in Spec Ops: The Line, only there is no Hero. First, there are the scared cries of enemy combatants during battle. Later, in one scene, a character is shown dying of terrible burns to the airway from a white phosphorous attack you dropped on him. With eyes wide with terror, he just gargles out, "Why?" Near the end game, there is a whole memorial to all the men who've been killed. It's covered in dog tags and American flags. The pictures of the Player Character and the support NPC are found on it. The grief and hate is nearly palpable.
Lara Croft does this in Tomb Raider 2013. By about the midpoint of the game mooks give a collective Oh Crap when they see her coming. Especially when she picks up the grenade launcher, and beginning with her assault on the Solarii compound to rescue Alex and the others Lara begins actively hunting them down.
Schlock Mercenary: Schlock, being bulletproof, super-strong, fond of heavy ordnance, habitually eating his enemies and not at all humanoid, naturally gets this treatment sometimes.
Nowhere more so than in Schlocktoberfest 2001. It starts as a horror movie cliche when Diamond Bugs easily tear through armor, and then reverses when they face the "regenerating zombie cannibal!". Compounded by the fact that the enemies are depicted as children and he has at least quadrupled his size and strength by consuming his fallen comrades' bodies, and preserving their heads in jars.
Mushroom Go, being about a group of pirates in the Mushroom Kingdom, treats Mario this way. His only appearance to date was in a flashback told by Captain Martello. He crippled her Hammer Brother father for life and incinerated his partner. The way she describes him makes him seem like a terrifying, one-man-army, monster, which to the Koopa Troop, he kinda is.
In The Salvation War, Satan attempts to conquer Earth in 2008 at the invitation of God, only to find he has disastrously underestimated how tough humanity has gotten in war. The resulting slaughter of demonic mooks who are consistently outmaneuvered, outwitted and sheer overwhelmed by Humanity's ruthless military might soon becomes an almost pitiful massacre.
672: The forehead is not an appropriate place for a kill-count holotatoo.
Hank from Madness Combat tends to invoke this a fair bit. The fact that he's basically killed everyone he's seen in the series at least once doesn't hurt a bit.
The Whateley Universe story "The OP" stars the Grunts, a school team training for a future career in the military. Between their training and their own fairly respectable mutant powers, one wouldn't precisely consider them mook material...yet Carmilla in full Eldritch Abomination mode picks them off one by one easily and graphically enough in true horror movie fashion. Good thing for them it's only a training simulation.
In Worm, When Skitter utterly ANNIHILATES the 28 merchants who attack her territory. They didn't take her power to control bugs seriously and made jokes as they threatened her people. They laugh at a figure made of bugs until it dogpiles one of them and he starts screaming. Then they realize that they are surrounded by creepy, humanoid figures made of bugs, that are immune to their weapons. Skitter could have taken them out in an instant, but takes her time to freak them out to show what happens to anyone stupid enough to attack her territory. It also shows the readers just how freaking scary she can be when she doesn't hold back.
Highlights including letting one of them "escape" before cornering him and slowly advancing her bugs on him. He lets out a primal scream just as they attack.
Another involves a merchant that intended to use gasoline to burn the buildings of her people, she scares her into spilling it on herself and uses a slow moving army of beetles carrying lit matches toward her as she desperately tries to get away.
The video The Flying Man has a superpowered human-shaped thing that seemingly exists solely to kill criminals. It doesn't interact with the press or anyone else on-screen, so we see it through the eyes of a hapless criminal that attracts its attention. The video has been called "Lovecraft with superheroes."
In an episode of Megas XLR, "Coop D'Etat," an army of giant robots follow Megas into a large cloud and are picked off one by one. One of the robots even trembles in fear.
Several Samurai Jack episodes were told through the eyes of sympathetic characters attempting to kill Jack. Jack is just as unstoppable in those episodes as any others.
At the end of the Three Episode Pilot, Jack has single-handedly decimated a horde of insectoid Mecha-Mooks, ending with one of the robots surrounding him taking a single step away from the samurai covered in the Symbolic Blood of his enemies. "No. There is no escape." Violent action ensues.
In the Ben 10 episode "Last Laugh", the main villain, Zombozo, has one of the most ironic examples of this trope: after tormenting Ben the entire episode through Mind Rape, he finally pushes Ben too far by threatening his cousin, causing Ben to become Ghostfreak and invoke this trope to literally scare Zombozo to death.
Happens to the same villain again at the hands of Gwen in Ben 10: Ultimate Alien when he tries to kill her aunt right in front of her. Gwen replies by going One-Winged Angel and terrifying the living heck out of him.
Ben actually has mutiple scenes in all series where he displays this trope: in one episode of the original series, he attacked two mooks in his Ripjaw mode in a typical Jawesque fashion; Alien Force and Ultimate Alien have scenes such as when he threaten people as Rath (though Rath's behaviour make it more comical), and the list goes on.
Though it didn't involved a villain, Ben 10: Alien Force also had a full episode with Ben doing this to his own allies as part of a test to see how good they had become. For the whole episode, they were trapped on a space station with Ben doing several times Offscreen Teleportation and beating them up in various form while mocking them with a Psychotic Smirk. It was creepy as hell.
In the Avatar The Last Airbender episode "The Avatar State," Aang has a nightmare where he sees himself in the Avatar state, and realizes just how terrifying an opponent he is to his enemies when he unloads the whup-ass.
On Teen Titans, Raven once invoked this trope on Dr. Light by accident, because her self-control was slipping and her dark/angry half-demon side got out of control. Given a funny Continuity Nod later in the series, when a gleefully-gloating Dr. Light suddenly found himself facing Raven again, and immediately surrendered and asked to be taken to jail.
In Gargoyles, the Manhattan Clan often invokes this trope.
One of the early shorts (before the series was made) begins with Aeon moving down dozens of enemy, and then the narrative abandons her to focus on one soldier's painful dying moments after being shot down.
The best in episode example is in "The Trial," when Batman escapes his straight jacket after the light is broken the villains are in a dark room lit only by Two-Face's lighter. Batman, in the exact dark environment where he is next to invincible, circles around the edges of the room, outside the lighter's light, and grabs the villains one by one. The Joker finally says it is okay to panic when he notices Harley suspended from the ceiling and bound with the straight jacket Batman had just escaped from. To make things worse for the villains, Harley was the one who was holding onto Batman's utility belt.
In Lilo & Stitch, Stitch's escape scene in the first part plays out this way.
Being a pastiche of Batman and The Shadow, Darkwing Duck tries very hard to pull this trope off. He usually fails, but on occasions, he does succeeds quite well.
In Spider-Man: The Animated Series, Spider-Man becomes this when wearing the black suit. Despite how hilariously hammy his dialogue was, you could still see the fear in Shocker's eyes as Spidy was literally hunting him down with the intention of killing him.