Far Cry 3: Blood Dragon is a cheesy, violent, over-the-top Affectionate Parody of 1980s action movies. Even though the story is Troperiffic and a Cliché Storm, half the fun of it is reveling in how silly it all is. Rex "Power" Colt's constant use of the Bond One-Liner, in particular, has a few pretty narmy lines like "peekaboo, I killed you!" and "I call shotgun!" after killing someone with the titular weapon. The entire setting has everything glow neon, you fight giant dinosaurs that shoot lasers out of their eyes, and the cutscenes even invoke Stylistic Suck of NES stiff movement.
In Persona 3, Aigis has apparently finally tuned in to human emotions and confesses her love for the hero. This kind of touchy-feely dialogue is endemic to anime and JRPGs and it always turns out sounding gut-wrenchingly corny in English. Not this time. Could be considered a Crowning Moment of Dubbing, but it's really no surprise considering the excellent quality of the rest of the dub.
Persona 3 managed to make the line "Let's put a smile on everyone's face." sound cool.
Most Sonic dialogue falls under this. This narm is awesome narm. (Especially Sonic Adventure narm.) From anyone else it would sound stupid, but from a cast of characters that are either Large Hams or invoking Totally Radical, it really works.
Sonic Adventure does this in Sonic's final boss battle. (GET A LOAD OF THIS-GET A LOA-GET A LOAD OF THIS, etc)
Where's that, DAMN fourth Chaos Emerald?! Find the computer room!
You know what they say, the more, the merrier! You know what they say, the more the merrier! You know what they sa— (and so on, and so on, and so on...).
The strange, over-the-top expression in Shadow's various "I Am" Speeches, particularly "THIS is WHO I AM" underscores his mental instability. So does his whining, five-year-old like protests to Rouge about his identity in Sonic Adventure 2 and his lame puns in Sonic Heroes.
Espio's stereotypical ninja lines in Sonic Heroes come off as Narm Charm. His voice actor at the time made them sound cool. These lines include:
"DASHAAAAA!" "Behold, ninja power!" "Evil must die! Beware my ninja power!" "Spirits unite!"
Any music with lyrics in the Sonic franchise tend to be cheesy, yet strangely catchy. Sonic Adventure 2 is probably the biggest example of this with the memetic Escape From The City and Knuckles' rap themes.
The Japanese and PAL versions of Sonic CD bring us the track to Metallic Madness (Bad Future), featuring a robotic voice (presumed to be Robotnik's) telling you, "You can't do anything, so don't even try! Get some help!" Yes, the voice sounds like Microsoft Sam. But the track also reminds you that youscrewed up.
The Legend of Zelda: A Link to the Past: Some find that the game's simplistic presentation and awkward dialogue give it a sort of nostalgic charm; it helps that the game has a greater focus on gameplay than story compared to modern Zelda games.
Final Fantasy IV. "You spoony bard!" It's a silly line that doesn't match the Japanese original, but it's so well loved that it's preserved in all remakes and sequels. Fans of archaic slang have pointed out that calling Edward "spoony" is indeed correct, since he was indeed sentimental and hopelessly in love. That it happens to also be a really, really funny thing to call someone is just lagniappe.
Most fans of Final Fantasy V cite the generally upbeat characters, silly dialogue, "save the crystals" Light Warriors plot and the game's tendency to lean on the Fourth Wall as the reason they love it... in other words, the very reasons many fans of "Classic Final Fantasy" (before Square ruined everything) seem to ignore it. Which is not to say the game is devoid of seriousness, because in certain scenes there may well be something in your eye...
Special mention goes to the GBA port, whose English translation Punched up the dialogue with some great cornball lines, while keeping the original intent intact. And you've gotta love Gilgamesh saying "It's morphing time!" and "Now we fight like men, and women, and women who dress like men!"
The super Super-Deformed look in Final Fantasy VII got noticed even when the game was raking in accolades. Yet it was an understandable consequence of Square getting to know the system. Even the game's detractors rarely use that as a negative against the game.
Aerith's death. The dialogue is nonsense, but between that music, the party's reactions (like Tifa stroking Aerith's face and then running away in tears, Barret stopping to grip Cloud's shoulder before walking away slowly, Yuffie hugging Cloud before leaving too and Vincent being stoic and quiet [as long as there's no glitches involved] ) and the scene where Cloud gently lets her body fall into the near pond, it still manages to make people sob into their controllers.
Similarly, when Final Fantasy IV was rebuilt for the Nintendo DS, several things got changed: the score was updated to match the style of the current Final Fantasy soundtracks, cutscenes, as well as CG graphics for the overworld map and voice acting for the cutscenes were introduced. The opening cinematic, as well as some of the cutscenes Paladin Cecil fighting his former Dark Knight self looked like this. But a majority of the cutscenes look like this, with plenty of the Narm. Yet, it still manages to keep the philosophy of Anyone Can Die, all the best Tearjerker-ing and heartwarming moments are still kept in, the battle system is true to its core, and it makes for great nostalgia fuel.
Final Fantasy XIV has a few instances of this. The voice work post ARR tends to be very good, but there are occasionally instances where it comes off silly.
One of the earliest examples would be the fight against the Griffin at the very end of Heavensward. Specifically his "Sloppy" line which he says whenever he does a particular attack, regardless of whether he hits anyone or not.
Yiazmat from the Ridorana Lighthouse raid is quickly becoming infamous for his in-fight dialogue. They probably wouldn't normally stick out much if not for the fact that Yiazmat has a very noticeable cockney accent which nobody else in the game has, not even the Bangaa that was transformed into him.
What's more, sometimes he will take pictures wherein you can't see anything (like where there is a bush in the way) and the party might actually say "nice picture"... unfortunately close-ups of plants are a pixellated mess.
The ridiculous simlish mumble in Banjo-Kazooie was so well loved that by the time Rareware had the money and technology to do full-on voice acting in the up-and-coming sequel, the fans wouldn't hear of it. The corny mumbling was part of what endeared the Banjo series to them. Rare noted the fans' remarks, and opted to keep the mumble.
Similarly, Ōkami has a gibberish language for all of the characters, but for many this fits the game's painterly style of graphics. Oh, and also because all human characters don't have mouths, and instead their heads stretch and squash to indicate that they're speaking.
People in the fandom who complain about the guy covered in bees, the fourth wall breaking, the possessed arm, Big Boss being defeated by an aerosol can and a lighter or the "deadly poisonous Zanzibar hamsters" (or even the endless melodramatic dialogue) are usually quietly resented/pitied by the other people in the Metal Gear fandom, who love the games because they're really quite silly. When the creator is notoriously irreverent of his creation, the best response is to be an irreverent fan. It all becomes quite charming with that mindset.
Which is why the game fills our souls with liiiiight.
Castlevania: Symphony of the Night is a classic for many reasons, one of which is the hilariously over-the-top voice acting. This is so well-loved that some fans actually complained about Konami redoing the dialogue scenes when the game was ported to the PSP as part of Dracula X Chronicles.
Castlevania is often like this. Many of the bosses call their attacks in ridiculously overdramatic ways, and it is so epic.
ThisLet's Play contains, among other things, every single ridiculous line in the game, from Falco continuously calling Fox "Einstein" to Slippy's impassioned scream of "FOOOOOOX!" to Fox propositioning Falco to Andross being the brainiest brain to brain the brainlat. Interestingly, the one with the highest Narm ratio is General Pepper ("There's an enemy base there?!" "So you're going to attack the enemy base? Great idea, Fox!").
Slippy: I HAD NO IDEA THAT SO MUCH OF THE ANDROSS ARMY REMAINED INTACT! ** Everything Slippy says.
The 3DS version even had the original voice actors re-record their lines. And it's still wonderfully cheesy.
Robot Alchemic Drive has a crappy dub, there's no denying it. What makes it So Bad, It's Good is the fact that it's, for the most part, ridiculously over-the-top and dramatic, evoking a feeling like one is watching an old dub of anime from the 1980s, before quality control in dubbing was a concept (and there is word that this was actually intentional on the part of the dub VAs). Special mention goes to Mika Banhara, the news correspondent with a ridiculously thick Japanese accent (despite the fact that the game takes place in Japan and the only other foreign accent is equally thick German).
Eternal Sonata is a game that ran on narm. It was didactic, pretentious, and overflowing with irritating characters who had the common sense of a carton of bricks. But the ending, where Fredric dies, and his soul rises from his body, slowly sitting down to play the ending theme Heaven's Mirror, while his final visitor rises to sing somehow loops around and becomes heartbreaking.
The comm officer of the Colossus during the "Their Finest Hour" mission of FreeSpace 2 delivers some horrific Narms, but somehow the shock and horror of the pride of the Galactic Terran-Vasudan Alliance being destroyed right before your eyes outweighs terrible voice acting.
Duke Nukem: Nobody steals our chicks... and lives!
Every Silent Hill game contains what can perhaps be best described as lackluster voice-acting coupled with some truly silly lines, the first game being by far the worst offender ("Huh? Radio?") although the second is certainly not bereft either ("You're not friends with that red, pyramid thing, are you?"). The charm comes from a combination of the characters being steadily and constantly Mind Raped (and/or completely fucking nuts to begin with) and thus one can hardly expect them to be particularly articulate, the slight reprieve it provides from all the Nightmare Fuel, and that it makes the important scenes, most of which are completely devoid of Narm, all the more effective by comparison (see anything involving James and Mary in the second game).
A rather silly plot, low production values, spotty acting, and it being Full Motion Video made a lot of the story in Crusader endearing at best... but occasional moments, such as Ely chewing you out if you fail the mission where Andrews dies, have real emotional resonance.
From around about Warriors Orochi onwards they've started getting that one right. Shame.
Also: COW PEE.
Cao Ren's line in DW6, "Our allies have arrived!", sounds less like a beseiged general trapped in a flooded castle, than a guy noting the arrival of his dinner party guests.
Zhao Yun's cry for help in DW6 "Someone! I am in NEED of ASSISTANCE!" leaves it unclear whether the player should save him from enemy troops or bring him his Xanax, but remains highly amusing either way.
Even Super Robot Wars has this. The opening to Super Robot Wars Alpha shows the robots looking so chibified that at first it's impossible to take seriously, which isn't helped by the music (voiced in what sounds like slightly lisped English). Once the music picks up, it immediately swings right around to being kickass, and everything some found rather stupid becomes rather charming (especially the parts where a Chibi EVA-01 goes completely berserk, and the AVF's from Macross avoiding Massive Macross Missile Massacres.
As noted by Yahtzee on the quotes page, this is one of the reasons why fans love Resident Evil. You'd expect a zombie game to have a basic plot that says "Zombies! Shoot them!" but Resident Evil has a winding detailed story that makes little logical sense. Combine this with characters ripped from B movies, awkward dialog and more awkward voice acting. Then put it all in between two slices of self-unawareness and you've got a delicious Jill, er, narm sandwich.
When one of the bad guys exclaims, while morphing into his One-Winged Angel form, that he just got an "Extreme Makeover" you know Capcom's in on the joke that is Resident Evil, and they're loving every minute of it.
When Liz dies in Resident Evil 6, her father lets out a wailing sob that manages to be both narmy AND heartbreaking at the same time. Despite how silly and over the top it is, you feel so bad for him that all you want to do is hug the poor guy.
Resident Evil has a zoo of zombie animals. We've had zombie dogs, spiders, snakes, plants, crows, lions, wasps, piranhas, monkeys (Yeah, zombie monkeys) and a zombie elephant, and the animalesque bosses. At first it seems hilariously silly but then when you realize these animals are much more dangerous than any human zombie it's too late.
Barry comes back in full narm charm mode in Resident Evil: Revelations 2, and gets unbelievably cheesy lines, up to and including a reference to the now infamous "master of unlocking" line from the first game. At the same time, he gets so many Pet the Dog moments with Natalia such as holding her hand as she descends steep hills and becomes such an unstoppablePapa Wolf to her who says his lines with intense dedication and conviction. You can not help but take him dead serious, get completely invested in his story, and cheer him on every step of the way:
Monster Alex Wesker: My imposter... you must... die!
John Cleese as "Sir Roderick Ponce von Fontlebottom the Magnificent Bastard" (but not really) kind of stole the show in Jade Empire, at least during the chapter in the capital, because he is such a magnificently overdone interpretation of the Chinese view of Western Imperialists.
The phrase "It's super effective!" not only made it into the original Pokémon games, but is still the standard "for massive damage" line over a decade later, enough so that the Pokemon Trainer's final smash in Super Smash Bros Brawl references it with no gameplay need to do so. For similar reasons, variations on the "I like shorts!" kid appear in many of the games.
A Pokemon example that's sad rather than cool is Tectonix on Five Island in Pokémon FireRed and LeafGreen. A kid's propped up a chain of rocks to honor his dead partner; the rocks may even be the Onix just sticking out of the ground (not exactly the most respectful mode of burial), but the delivery is genuinely sorrowful.
Ōkami: You'd think that God herself getting shrunk to the point where brooms are deadly and The Thing That Goes "Doink" is usable for platforming would be sillier than it is, yet it works. Even when you have to jump down the Emperor's throat while he snores and fight a boss in his stomach.
The final boss fight. Your powers are stripped, the final boss is about to eat you, and then...all the people you've helped along the course of the game start praying for your victory, restoring your powers through the sheer power of their faith. The graphics are cartoony, the scene is full of cheesy lines, all of it is a hopelessly clichéd concept...and it's also a Moment of Awesome and a guaranteed Tear Jerker.
Quite honestly, the premise of the whole series runs on this. You're running around with a gigantic key, fighting with Disney characters against villains who vary from being rather ineffectual to outright terrifying, but are always hammy. There are friendship speeches galore from the incorrigibly optimistic main character and all sorts of cheesy lines being said by everyone you meet. On a meta level, the game is a fusion of Disney canon and Final Fantasy canon, with some original characters thrown in, so basically it's a glorified crossover fanfiction with a huge budget. The whole idea sounds too silly to work. But it does. And it's awesome.
Birth by Sleep. Okay, yes, mecha Keyblades that turn into mini sky jets are stupid and completely unforeshadowed, even by the setting's standards, but fuck, do they look cool.
Tales of Symphonia: After Lloyd gave her so many speeches about what you are not changing who you are, you're still you never mind how much of your humanity you lose, Colette reciprocates and reminds him he's still the same Lloyd, never mind who his father is. You've had about a hundred of those speeches by then but it's still touching, especially given the situation and Lloyd's current Heroic BSoD.
Also it's pretty funny that Lloyd's response to this is "You stupid jerk!"
Tales of the Abyss: Some of Asch's quotes right before the final confrontation with him are just beautiful, beautiful Narm. And yet, a line like "Shut up! This isn't about logic!" is surrounded by heartfelt declarations of identity and independence wrapped in Tear Jerker, so the scene overall is painfully sad...up until the extremely infamousBig Word Shout: " RRRREPLICAAAAAA!!" But then? Cue Meaning of Birth and Duel Boss awesomeness.
A more minor one: Jade has a couple of lines that trigger sometimes when he survives an attack with low HP. This happens regardless of whether anyone else survived it, so he will cheerfully announce, "Looks like we're still okay!" when the rest of the party just got nuked. This would be narmy and obnoxious... except that this is Jade, and that line under those circumstances is entirely in character.
Being a World of Ham, BlazBlue is naturally full of this. Special mention goes to Terumi. He goes on constantHannibal Lectures and nearly every word out of his mouth is incredibly overacted. This does not make him any less effective as a villain.
The Tiberium series, not so much... Though it's interesting to see that a few of Tiberium's cutscenes fall into straight Narm so hard that one might wonder if Red Alert had the right idea.
The 7th Guest — with the narrator's ghoulish puns and Cryptkeeper-style delivery, the lame lines spoken hammily by obvious non-actors, the honky-tonk closing sound track... So Bad, It's Good, and though it chased away any potential for horror, it managed to leave the mystery intact.
Bayonetta is a rare case of just being so hyper-sexualized to the exact point where it becomes delicious Narm, but before it becomes just porn.
The English voice acting in the STALKER series fits the bill.
How about the fact that everyone on the stand reacts to the revelation of problems in testimony like they were physical attacks? Or the fact that no one seems to take these things as out of place (most of the time)? The simple fact that Apollo gets away with calling out the scar on the back of Kristoph's hand turning into a demon face in court as part of his proof and it's accepted by all involved might be Narm in concept, but leads in to such well done scenes that you won't care.
The infamous scene in which you cross-examine a parrot is another good example. It's even treated as a stupid idea in-universe, but it's near the climax of one of the series' best cases, and somehow it doesn't take away from the drama.
The fact that nearly every killer has a Villainous Breakdown or a Motive Rant doesn't seem all that silly if you're not paying attention...but in Justice For All, when Adrian Andrews is wrongly accused of being a killer, the witness doesn't break down and confess, and everyone in the court is so confused that the witness isn't abiding by their cheesy tropes. But still, it seems more like a moment of self-awareness than clumsy writing.
What about the fact that absolutely nobody questions the fact that Adrian Andrews has her glasses EXPLODE at least 5 times, and she just pulls out a new pair from Hammerspace?
In the same case, the way the attorneys dance around not using gendered pronouns for Adrian Andrews results in some remarkably cheesy sentences, but it's a vital detail that helps expose Shelley de Killer's lies.
Final Fantasy X No matter how heart-wrenching the scene where Tidus finds out what being a summoner entails, his voice actor fake-cried as well as Daniel Radcliffe does in Prisoner ofAzkaban in that scene.
The romance between Yuna and Tidus was narmy, with some spotty voice acting in places, but at the same time it had a kind of innocent storybook charm, like two shy schoolchildren awkwardly starting a relationship.
You might even think that romance is stupid all the way through, from the bizarre laughing scene to the awkward lake-out, but the ending still has a good chance of bringing you to tears. Yuna falling through Tidus as he starts to fade, standing up and telling him she loves him, Tidus hugging her from behind and then leaping off the edge of the airship...all to the incredible ending soundtrack...*sniff*
The original Sin and Punishment is a shining example as well, with the voice acting being very lazy and underwhelming. Especially narmy with the crude N64 graphics. But it works, giving the game a cheesy atmosphere that compliments the awesome gameplay.
Saki: "So you're the leader of these killers!
Airen: "Well, commander, now I'll avenge my friends!"
Everything that the tiny cat-thing, Leda, says. "Thinking of reee-vveng-ge?"
The plot of the original is also hilarious, in that it doesn't make any damn sense. But who really gives a damn when you're suddenly turning into a giant kaiju with little to no explanation, or fighting the final boss, who transforms into a 1:1 copy of the Earth?
Mega Man X4's memetic "What Am I Fighting For ARRRRRGHH" is this. Zero had to Mercy KillIris, and screams this as he loses it. People remember this line because of how poorly delivered the entire death scene is. It strengthened Zero as a character, because people will NOT forget it.
Ghost Trick constantly plays the line between silly and dramatic, but at the end, Missile-Prime says that he protected Lynne over a ten year period because "That's what doggies do!" It easily could be Narm, but it ends up as a Heartwarming Moment.
Elite Beat Agents is positively powered by this. You're part of the EBA, a Men in Black organisation who go around helping the helpless through the power of dance. Songs include Sk8er Boi, Y.M.C.A. and Material Girl. Missions range from helping a magician save the casino he works at from robbers, to helping a ludicrously rich Texan get his fortune back, to helping a baseball player recover his confidence so he can save a theme park from a gigantic golem (complete with a ridiculous catchphrase - "YOU BET, KID!"). You'd think the one serious mission, in which you help a little girl deal with the death of her father, would avoid this, and it does... except she comes back in the final mission to help you save the world from invading aliens through the Power of Rock. And yet, despitebecause of this, you'll be cheering along the entire time.
Agents are... GO!!!
Every last person in Albion has either British or Irish accents and they're very stereotypically exaggerated.
While it's universally agreed that the sex scenes in Dragon Age: Origins are incredibly cheesy—thanks in no small part to the hilariously awful underwear everyone's wearing—the romances themselves are pure heartwarming (and heartrending, with the right choices). The sex scenes are made even more awkward by a certain bug that results in the player character still wearing full plate armor. There's also the fact that Morrigan, who clearly wears no undergarments under that outfit of hers, apparently puts on underwear to have sex.
This doesn't get much better in Dragon Age II. The sex scenes now happen while everyone's fully clothed, which is actually a little better, but the body positions are still really weird and there's a bit of awkward dialogue that the first game mostly lacked - but there are still many genuinely sweet moments, and you can, in one case, break the tension by offering your lover a sandwich.
Dragon Age: Inquisition continues the grand tradition with a cutscene just before the penultimate mission. It cuts between scenes of your soldiers receiving the news that a big mission is under way and they need to drop everything and get moving. Thing is every time you see a group get the news, they stab the nearest surface with a knife or sword, all of them, to super dramatic music. It's like the Inquisition secret handshake.
Dawn of War: Soulstorm is near-universally accepted as this, given the World of Ham nature of the setting. How can you not laugh at lines like "Our enemies hide in metal BAWKSES, the cowards, the fools!"
The original congratulatory text for killing a boss in Dark Souls: YOU DEFEATED. Defeated what, you ask? Doesn't matter, YOU DEFEATED.note Technically, it's correct English, but it's almost never spoken without a direct subject. It's been changed to the more sensical "VICTORY ACHIEVED" in updates, however.
Jade Cocoon for the Sony Playstation. It's a mons game with a Native American...ish(?) theme, a story that goes nowhere and makes little to no sense, voice-acting that ranges from surprisingly serviceable to SERIOUS narm, only 8 levels, and a final boss that, while manages to be properly set-up, and STILL make no sense. Somehow though all of this adds up to create a weirdly charming world to explore, and to this day it's remembered fondly as a classic and has a considerably large fan-following.
Kikinak the Bird Man: His voice actor sounds like a 15 year old kid trying to recite lines from a tv show he saw last night, but it fits the character's personality so well that it works.
Similarly, Frederick's Love Confession to Sumia is horribly cheesy on paper... but since this is the already sappy and romantic Frederick we're talking about, it comes off as incredibly heartfelt and genuine. Sumia's cheerful and also super cutesy acceptance is the icing on the cake.
Several of the Love Confessions directed to the Avatar in the English version of the game fall into this too, since they come off as terribly tacky but surprisingly fitting.
If you're romancing Tali at the time of the Citadel DLC for Mass Effect 3, she can sing along with one of the musical numbers from her favourite movie. The words aren't all that good and while Tali's accent is cute in speaking it's really not suited for singing, but the result still works because Tali was already Adorkable and there's enough sincerity in the performance to make it at least believable.
Advance Wars: Dual Strike gives us Jake, a Totally Radical CO who says complete nonsense about "serving his opponents bowls of smack down soup", but at the same time is a truly heroic and competent young man who really is hard not to like. Towards the end he gives a genuinely heartfelt speech about why he fights which he finishes with "...word", which should completely ruin it but instead only makes it complete.
Jake: ...I'll tell you something, Sasha... No one will ever do this again. If some enemy appears and tries to wreck everything all over again... I won't lose. I will fight for the tiny life that has blossomed in this great land... ...Word.
A promotional laserdisc for Air Combat 22 includes a vocal version of one of the game's bavkground track, done in a style very similar to the Daytona USA tracks linked above. It is very silly, and by that token, very lovable.
Captain America and the Avengers is a beat-'em-up by Data East hailing from 1991. It's not the most advanced game even for its time, but while the gameplay is passable, the voice acting alternates between hilariously bad (for instance, Whirlwind's comeback to "You can't escape" is "You will be the one escaping!") and absurdly epic (the game will implore you to continue with a stirring "AMERICA STILL NEEDS YOUR HELP!"). There is no subtlety whatsoever in the delivery, but this just makes it more fun and enjoyable—making it surprisingly similar to classically cheesy Silver Age comic books as a result.
The Soul Series, good golly, this series of fighting games has some of the corniest dailogue and voice acting out there, whether you're hearing pre-fight or post-fight one-liners like Sophitia saying "You're in pain, it's painful isn't it?" or the brutish Astaroth shouting "Squirm! Scream!", it's likely the voice actors were having alot of fun with these lines.
The cheery voiceovers from Carrie's Order Up! are cheesy, fitting the '90s video game atmosphere, but are too cute not to smile.
Undertale: Photoshop Flowey comes off as something right out of a stereotypical, badly-written creepypasta, and Asriel's powered-up boss form resembles a child's self-insert Mary Sue character complete with ridiculous attack names. So, why do these bosses still work so well? Because Asriel, and by extension Flowey, is a kid at the age where they would find such things cool and want to incorporate them into their fights. Even his abysmally on-the-nose choice of name, "Flowey The Flower", fits perfectly when you consider his father's similarily awful ability to pick clever names.
Wingdings is one of those inherently funny words, and it's a pretty silly font. That doesn't make Dr. W.D. Gaster or the line "Beware the man who speaks in hands" any less chilling.
Reaper from Overwatch is practically made out of this trope. He should be an utterly ridiculous character dreamt up by a 9-year-old boy during the 90's trying as hard as he can to be "cool;" a dark and edgy assassin dressed in a black Badass Long Coat and white skull mask, who dual-wields shotguns (which he doesn't even bother reloading,he just pulls an endless supply from his coat!) with a deep, gravelly voice saying incredibly unsubtle lines like "I will feast on their souls!" and "Die! Die! Dieee!" By all accounts, his character shouldn't work... and yet he does, and is both legitimately badass and incredibly threatening in-game and out. It helps that what a children's interpretation of a badass is appears in a stylistically Pixar-esque universe, as well as having a genuinely intriguing backstory.
In Monster Hunter 4, players often get a laugh out of the otherwise cool-looking Zamtrios—a huge amphibious Threatening Shark with frog-like legs—once it activates its infamous inflation mode, making it look like a giant beanbag with a shark embedded inside of it. To add insult to injury, the inflated belly becomes a major weakpoint, ensuring that the monster doesn't stay alive for much longer particularly at Low Rank. Monster Hunter 4 Ultimate introduces the Tigerstripe Zamtrios, a subspecies of Zamtrios that inflates and deflates far more frequently. This would be even more hilarious, but most players don't think so. Thanks to its high mobility, difficulty in trying to mount it (since it can't be mounted while inflated), and the massive damage it can inflict with its various attacks, especially its very fast Ground Pound attack, it becomes one of the frustrating and terrifying bosses in early G-rank quests.
Estelle and Joshua's final scene in The Legend of Heroes: Trails in the Sky FC skirts the line between tragic and slightly over the top. But since it's Joshua confessing his heart, it's as sad as the game has hyped his past up to be. The beautiful piano score in the background followed by a vocal version of the main theme crushes any cheese the scene might have had into a pure Tear Jerker.
Similarly, Estelle running away from the castle at the start of SC hits all the cliche angst notes, she's in denial about her love being missing, she's sad in the rain only for an anonymous character to accidentally inspire her, she goes digging through her house looking for him, and so on. But it's the fun-loving, endearingly dimwitted Estelle the player's gotten to know so well who's doing this, and it's all the sadder for it.
The final duel Rean has with Crow in The Legend of Heroes: Trails of Cold Steel II has so much cheesy dialogue that the other party members lampshade it thoroughly. It's also one of the best moments of the game considering they act like they're in a Super Robot show and also concluding their arcs together.
The Fallout series as a whole is really good at this. Considering how the series is practically made of Bathos and it's telling a dark post-apocalyptic story set after a nuclear war destroyed a world inhabited by a (supposedly) cheery Leave It to Beaver-style 1950s U.S.A., it's been doing this for quite a while and is excellent at making something silly come across as serious.
It's doubtful you'll find anyone that claims that either Zeno Clash or its sequel have good voice acting. But there are defenders who claim that the voice acting is just the right kind of bad to fit with the general bizarreness of the setting.
The Saints Row IV DLC How the Saint's Save Christmas. Shaundi, who is now a cyborg, is Hell Bent on saving Santa from the Zin, and she does it with as much seriousness as a Batman movie.
The intro of the original Splinter Cell is a goofy action montage set to the tune of The Crystal Method's "Name of the Game". Though at odd with the tone and nature of the game (Splinter Cell being a Stealth-Based Game where running around slapping and shooting people won't get you far), it is such a strong piece of 2000's cheese many fans love it regardless.
A very, very powerful moment in Dead Space 2 has Isaac confronting the hallucination of his now deceased girlfriend that the Marker exploits to make Isaac mentally unstable. Upon them dropping the act, the final boss fight begins, and Isaac says something that, normally, would be cheesy. But the frustration he's built up over the game, the bluntness of it, and the incredible delivery and power behind the line make it just plain incredible.