Happens near the end of Wolfenstein II: The New Colossus, in which BJ, while in disguise and auditioning for a Nazi propaganda film on Venus, does this to a soldier with the butt of an assault rifle after magazine-dumping him.
Actually averted in the series general; most of the victims tend to die because of a single (or few) killing blow. Otherwise, when there appears to be several bruises all over the victim's body, it's typically because they fell some distance, either as a cause of their death, or after they had already died.
Jaron Namir delivers one to Adam Jensen at the beginning of Deus Ex: Human Revolution. The beat-down is so bad, it forces Adam to become augmented in order to survive.
Everyone in Dead Island has some form of this, but Sam B has the most literal one, where he cracks his knuckles and goes fists-a-blazing into the nearest undead horde.
The Walking Dead features Lee delivering one of these to Andrew St John. Considering his actions beforehand, it's an immensely satisfying moment for many. The player does have the option of stopping before his face is reduced to a bloody mess, but it's fair to say few people choose this.
Season two of The Walking Dead sees a return of this trope with Kenny as he beats Carver's face to a bloody pulp with a crowbar, in as revenge for the latter previously beating Kenny into unconsciousness, and crushing his left eye-socket, destroying his eye.
Also in the cutscene just before the final boss fight, when Ocelot straddles Snake and starts pummeling him until he needs another stimulant injection.
General Shepherd delivers one to Captain Price at the end of Modern Warfare 2. He'll actually kill him if you can't stop the fight in time.
At the end of Modern Warfare 3, Price delivers one to Makarov culminating in his death by hanging after Price piledrives Makarov through a glass ceiling. After all the shit you endured in the three games leading up to this, it's immensely satisfying.
Jack to Andrew Ryan in BioShock. Andrew uses a posthypnotic command word to compel Jack to beat him to death with a golf club, to demonstrate that Jack has no free will. It might also be a form of Suicide by Cop, however.
In Bioshock Infinite, Booker delivers a particularly satisfying one to Comstock using the baptismal font.
Eternal Darkness has a villain-on-villain version in the battle between the rival Eldritch Abominations Ulyaoth and Chattur'gha. While each of the gods' battles have a pretty clear winner (due to the three gods having a Tactical Rock-Paper-Scissors relationship), there is at least a fight. Ulyaoth, on the other hand, tears its enemy to pieces through use of Portal Cuts, so Chattur'gha starts the fight by getting blasted with its own fireball, and ends by trying to crawl away on what remains of its limbs before being chopped in half by another portal.
Every battle in Dwarf Fortress ends in one of these if the loser doesn't get cut in half and sent flying across the screen or lose his internal organs to a crossbow bolt. The only other end is a creature getting knocked out and methodically dismantled by his opponent.
And then there's the undead. This being Dwarf Fortress, you could beat or wrestle with a bear or some other such worthy opponent until it capitulates, until the weather changes and suddenly your dwarves are being strangled by dessicated, individual bear limbs.
In early DF2010 releases, there were a few... bugs... with the new damage system not being able to effectively decide death conditions. Since combat will only end when one party is dead, the ensuing No-Holds-Barred Beatdown could easily continue for more than a season, resulting in every single bone and organ◊ in the victim's body being damaged until the combat system finally got around to calling them dead.
You can even do this yourself in the adventurer mode. A list of examples: Zamochit (Breaking every bone in the body, one by one), gouging your opponent's eyes out, biting, repeatedly pinching the face, ripping out teeth, or ripping of fingers. The point is, the combat system is extremely detailed and loaded with opportunities to do bad things.
God of War III features this from a first person view. The first is from Poseidon's view as Kratos slams him around. The second is from Kratos' view as he beats Zeus to death with his own hands. And continues.
As you're doing this, blood splatters on the screen. You can continue indefinitely as the screen becomes covered in blood. The only way to continue with the game is to stop killing Zeus.
In Gears of War 2, when an enemy soldier is in a downed state, you have the option to put your weapons away and punch the living snot out of them until they stop breathing in a satisfying scripted animation. Granted, they're already heavily wounded, and it only takes three punches to kill them.
In Gears 3, you're able to repeatedly tap Y to prolong the beatdown. For the COG, you repeatedly punch the enemy while they are down, like in Gears 2, but you can hold it for about 10 seconds, and it culminates with you punching their head into meat chunks. As a Locust, on the other hand, you rip off their arm and beat them to death with it for about 10 seconds.
Before his Face–Heel Turn into the series Big Bad, Sigma of Mega Man X was on the receiving end of one of these. A powerful Maverick was reported to be on the rampage and Sigma decided to deal with the threat by himself so that no one else would be endangered. Even though Sigma was easily the most powerful Reploid model at the time, the Maverick readily tore his sword-arm off and gouged one of his eyes out before beating him to a pulp. Sigma only won because of a "moment of weakness". Said event was actually what caused Sigma's Face–Heel Turn. And the Maverick? He became the hero known by the name Zero.
One of the Consume animations from [PROTOTYPE] is a very literal example of this trope. Mercer simply throws his luckless victim to the ground and beats the crap out of them until all that's left is a pile of easily consumed meat. Thankfully, all you see is the shower of bloodspray from the beating. The other Consumes aren't quite as literal, but are much worse since you actually get to see every gory detail. On a slightly less bloody note, it's possible to beat down a tank with the Hammerfist power. Mercer in general doesn't hold anything back when he fights.
In Half-Life 2: Episode 2, Dog does this to a Strider by jumping onto its head, punching it incessantly as it stumbles around, and finally tearing open its armored exoskeleton and pulling its brain out.
Dog also delivers another at the end, after Eli gets killed by an Advisor. Granted, the Advisors get away, but one of them's pretty badly wounded.
The backstory of Half-Life 2 had a huge example on a planetary scale: the Seven Hour War between the nations of Earth and the Combine. It lasted seven hours and... well, we lost.
Just about every sync kill in Dawn of War does this. Generally involves a unit pounding on its adversary several (dozen) times with a blade of some sort, then pulling out a ranged weapon and blowing it away. The Space Marines enjoy bringing an enemy to their knees and kicking them in the face with a giant armored boot, Commissars pull out a laspistol and do it execution-style, Dark Eldar Mandrakes just keep on stabbing. The variations are many.
This happens to Kreia in a flashback in Knights of the Old Republic 2. Despite the violence in the rest of the game, this scene is the most visceral, consisting mainly of a large man beating the hell out of a defenseless old lady.
What makes it even more brutal is that she doesn't start a defenseless old woman. He literally beats the Force out of a Sith lord, until it is just a matter of beating the hell out of an old woman.
The Handmaiden also gets one at the hands of Atris near the end of the game in the form of lots of Force Lightning. Being a Jedi apprentice gave her what she needed to beat her sisters, but not a Master.
In The Godfather, this is generally what ensues when you render someone helpless by grabbing them. The sequel builds on this with Pummels and Executions.
In an example that makes up for its lack of gritty gore by sheer shock value, near the end of The Legend of Zelda: The Wind Waker, Ganondorf at one point just starts pummeling Link, showing every single reeling effect it has on the young child. Considering the light-hearted tone and graphical style of the game, it comes as a surprise.
The whole scene is pretty dark compared to the sunny, colorful artstyle of the game. It works incredibly well for it.
Although the flashiness masks the brutality somewhat, this is pretty much what happens in all combo videos.
In Persona 3, there is a mechanic where enemies and allies may fall over after certain attacks. If every enemy is on the ground, the player is prompted to trigger an "All Out Attack," with the party members beating up on the damaged and off-guard enemies.
It returns in Persona 4, and in both versions it only works when both the Protagonist and at least one other party member are on the field and aren't incapacitated. If you finish off the enemy party with it, it ends in a giant skull-shaped mushroom cloud.
Persona 5 brings style to All Out Attacks; previous games just had a Big Ball of Violence, this game has your characters bounce around a red screen while beating up silhouetted opponents. If you finish off the enemy party with it, the character who triggered it will do a cool pose afterwards. Also, losing the Bonus Boss fight against the Velvet Room twins will have them finishing you with one of these.
Johnny Gat of Saints Row delivers one in the game's sequel. After Shogo, the so-called leader of the Ronin, shows up at Aisha's funeral demanding a fight, the player character chases him down and drags him to a very pissed off Gat. Gat then delivers a smackdown on the punk, breaking his leg and punching his head through a tombstone. He then buries him alive. The lesson here? Do not fuck with Johnny Gat.
Virgo delivers this to the Phoenix in the middle of stage 7 in RefleX.
A direct allusion to this trope by Maya Schroedinger (Wild ARMs 3), who says this to Virginia after saving her and her party from Asgard (who did OHKO them): "I, Maya Schroedinger, will crush you to the ground, no holds barred. Just remember that."
In the prequel to Dissidia: Final Fantasy, Duodecim, this is pretty much Feral Chaos's EX Burst. Most everyone else gets a flashy standard attack for theirs... but Chaos is given twenty seconds to beat the crap out of the opponent before delivering the final blow.
Deconstructed midway through Yggdra Union, when Yggdra finds and chases after Gulcasa while he and the Imperial Army are trying to retreat. Every time she catches up to him, she beats him viciously in battles where she is literally invincible until he manages to escape and run just a bit further away — and it turns out that having figured she would react thus upon seeing him, he'd decided to be living bait to draw her into an ambush. Yggdra falls into the trap face-first, and despite being in poor shape, Gulcasa leads the counterattack and mobs her into submission. The moral of the story is that letting your rage control you to tap into a few moments of brute strength is stupid stupid dumb when you're the hero of a strategy game.
Shao Kahn has one of these at the beginning of Mortal Kombat 9 against Raiden. The fight is mirrored at the end, before the final battle.
Samus delivers one to Mother Brain during the mother of all Mama Bear moments at the end of Super Metroid. After what Mother Brain did, she completely deserved it.
In Shadow of the Colossus, the Colossi normally wait to attack if Wander has been knocked over and is lying on the ground. On Hard mode? No such luck. This can be particularly painful when fighting incredibly aggressive Colossi such as Celosia or Dirge, who also happen to have massively powerful charging attacks.
In Tales of Graces, the first time we are made aware of Lambda's presence is when Richard is attacked by a soldier, appearing to have been killed. However, Richard eerily rises up from the ground and proceeds to mercilessly cut the man down. The rest of the party can only look on in horror before Asbel eventually makes him stop.
In the "House of Horrors" quest in Skyrim, Molag Bal has you beat a helpless captive priest of his rival Boethiah to death with a rusty mace. Then Molag Bal resurrects him so you can beat him to death again to force the priest to renounce Boethiah and give his soul to Molag Bal. Then you beat him to death one last time. The beatdown empowers the rusty old weapon and it becomes the legendary Mace of Molag Bal.
After defeating Diablo for the final time, your objective changes to "Destroy Diablo". What that essentially means is that you get one minute of unloading whatever attacks you desire on his dying body.
In the Stage 2 boss battle of Time Crisis 4, Captain Rush receives this from Jack Mathers.
Happens right at the end of Fur Fighters. Just after the player has defeated Viggo, he comes back. Rather than using clever gadgets, schemes, or hundreds of disposable mooks; he's decided to take matters into his own hands.
Probably the whole premise behind the single-player mode of Toribash, where a passive uke (no, not that kind) can be wailed upon by the player until they are reduced to flailing, blood-spewing bits with no resistance. A fair number of Toribash videos demonstrate new and creative ways to bash the uke into as many component pieces as physically possible, or simply find new ways to remove limbs.
Asura's Wrath has you doing this to pretty much every boss, including the creator of the universe who's been masquerading as a god.
Lara Croft is on the receiving end of an absolutely savage one midway through the 2013 reboot. After slipping into the Solarii stronghold where her friend Sam is due to be sacrificed to Himiko, Lara tries to break up the ritual by shooting the mook about to immolate her. Before she even has a chance to take another shot, she's grabbed by other cultists, thrown to the ground, and brutally beaten by half a dozen mooks while lying helpless on the ground. By the time Mathias stops the assault and Lara is dragged to her feet, she's nearly unconscious, unable to stand, and her face is a bloody mess.
Fate/stay night, "Heaven's Feel": The climactic battle between Shirou and Kirei is a brutal fistfight between the two, with the intent on both sides being to beat the other until they die. Ultimately Kirei dies due to injuries he sustained before the fight began.
From video game publisher Technos Japan (creators of Double Dragon) that helped define the Beat em' Up side scrolling genre comes the "Kunio-kun" series. The first title in the arcade line up? Nekketsu Kōha Kunio-kun (roughly translates to "Hot-Blooded Tough Guy Kunio") which only spans four levels, and for newbies, it can be this until you get the hang of the control schemes. Also worth mentioning is the infamous home consoled sequel Downtown Nekketsu Monogatari (Tale of Downtown Nekketsu). When it shipped overseas to Western release, it was released under the name "River City Ransom".
In Mass Effect 3, Kaidan or Ashley (which one is dependent on the events of the first game) receives an absolutely ruthless one from Eva Coré, the robotic infiltrator drone leading the Cerberus assault on the Prothean ruins on Mars. It nearly kills them, putting them out of commission for the first third or so of the game.
Several enemies in every faction besides the geth have a One-Hit Kill attack that will force Shepard to start from the last checkpoint or take someone in the multiplayer out of the round until it's cleared. Most of them are fairly quick, efficient kills: Phantoms stab you through the gut, Atlases pick you up and crush your torso, and Banshees shove their arm through your stomach. The multiplayer-only Scion knocks you to the ground and proceeds to smash you into a fine paste with its massive Arm Cannon.
Kingdoms of Amalur: Reckoning has these in the form of fadeshift finishing moves; each finisher involves the Fateless One beating the ever-loving shit out of his/her opponent, then finishing them with various weapons crafted from the threads of Fate itself, including shooting them with a bow, impaling them on a massive sword, and even smacking them with a giant mace like an all-star baseball player.
Gunpoint lets you do this to guards you tackle to the ground. You even get an achievement for punching someone a hundred times!
Super Smash Bros. has Final Smash attacks, which vary depending on the fighter. Robin's has them call in Chrom, which results in Robin repeatedly shooting at the target with thunder magic while Chrom unleashes a barrage of sword slashes on them, finishing with Chrom striking the opponent as Robin launches a Bolganone.
Similarly, Shulk's has him call in Dunban and Riki, and they unleash a rather painful-looking Chain Attack. Stands out from the ones in Xenoblade since there's no pausing in between their strikes.
The Mii Brawler is a fine example of this trope (albeit on a more child friendly scale); rapid kicks and punches can be pulled off in succession with ease given the right build and some practice. Additionally, much like the previous examples, its Final Smash Omega Blitz delivers a brutal flurry of punches of kicks before slamming the victim straight into the ground.
In Project X Zone, the ability to have five characters all attack enemies at once (by having a Pair Unit call another Pair Unit to help them attack, and then calling a Solo Unit who can be applied to the intial Pair Unit to also perform their own attack) makes some attacks become essentially this. You know you're screwed when X, Zero, KOS-MOS, T-ELOS and Ulala◊ are all taking you on at once.
And some of those solos are assisted by characters from other games...like the aforementioned Ulala.
In Super Street Fighter IV, each character has access to Ultra Combos, which are performed using energy from the Revenge Gauge and can do massive damage with a full RG, rather than a half-filled one. The Revenge Gauge fills as your character gets beaten up. Some of the Ultra Combos are pretty brutal.
Akuma's Shun Goku Satsu and its variants from the Street Fighter series. There's typically a Discretion Shot in the form of a black screen, but the hitsparks and the pummeling noises make it clear what's going on. The kanji for the attack even translate to "Infinite Hell Murder".
In PAYDAY 2, among the horde of law enforcement you'll be fighting is a special operative called the Cloaker who is capable of bringing a player down with one vicious kick to the head. After that, he'll whip out his police baton pummel and kick you into the ground while you're helpless. This is actually a good thing, because the last thing you want is a Cloaker that got the jump on one player is a Cloaker that's chain-kicking the whole team. Though considering what you're doing, youdeserve it.
The Kyokugenryu signature move, the "Ryuuko Ranbu", from Art of Fighting, is an attack where the attacker charges at their opponent then delivers a long stream of punches and kicks, ending with a jumping uppercut. This type of Limit Break has become so common in the SNK world that moves of a similar nature (such as Kim Kaphwan's Hou'ou Kyaku) are called usually called "Ranbu" supers in player parlance.
In Dead by Daylight, a killer normally has to impale a survivor on a meat hook to kill them, but an extremely rare power-up allows a killer to personally finish-off a victim with a wild flurry of blows after the killer puts their foot on the target's back to keep them from going anywhere.
Middle-earth: Shadow of Mordor. Pretty much anything that Talion does to the Orcs is so brutal and full of such rage that if it were being done to anyone other than uruks it'd be appalling. (He does have a fairly good reason to be royally P.O.'ed at them, mind.) One of the more egregious examples is the fervor with which Talion shanks an uruk repeatedly, and generally ineffectively, before finally — finally — slitting his throat. Then, in Act II, you bring in the further moral objectionability of poisoning uruks' brains...
The real "final boss" of Final Fantasy VII where Cloud uses his Level 4 Limit Break Omnislash which is exactly what it sounds like.
There's a magical version of this at the end of the Genocide Run of Undertale. Sans, the otherwise friendly and goofy skeleton finally brings the fight to you at long last after everything you've done, and at one point smashes your SOUL against every flat surface he can find out of pure unadulterated frustration, anger, and despair, a very stark contrast to the more elegant Bullet Hell mechanics previously employed by the game. Fanon tends to interpret this as him grabbing you and simply slamming you into the floors, walls, and ceiling. Notably, this hurts, and marks the only time that the color change mechanic unquestionably causes you direct harm.
The Last of Us: After a rough Boss Fight, Ellie makes damn sure David won't be getting up again via machete; the impression is that the hacking would have continued until complete exhaustion if not for Joel's interruption.
In Resident Evil 5, don't stand behind the Executioner when he's recovering from a stagger, or he'll cut you down with his Spin Attack.
When Simmons downshifts back into human(ish) form and is vulnerable to melee attacks, Leon, Ada, and Helena will all drop the flashy choreography and just run up, knock him down, and beat the living shit out of his face with their bare hands, each of which ends with a windup punch that knocks him flat. You can practically taste the rage they put into each blow.