Narm Charm: Difference between revisions

'''Kaiba''': "[[Oh Crap|Exodia? Impossible!]] No-one's been able to summon him!" <ref>Yeah, there wasn't a whole lot of search back then. Shut up.</ref>

* ''[[Toy Story]]'': "YOU ARE A TOY!" It [[Makes Sense in Context|Makes Perfect Sense In Context]]

** {{spoiler|Denethor's}} death scene (where he [[Go Mad From the Revelation|goes nuts]], lights himself on fire, and ''jumps off a cliff'') in ''[[The Lord of the Rings (film)|Lord Of The Rings: Return Of The King]]''. [[Your Mileage May Vary]], as others just found it [[Narm]] at best, but mostly completely illogical and impossible. Then again, the last part is movie-only, as in the book he calmly burns himself in the Steward's tomb. (<ref>[[The Lord of the Rings|LotR]] V, ch.7: "Then Denethor leaped upon the table, and standing there wreathed in fire and smoke he took up the staff of his stewardship that lay at his feet and broke it on his knee. Casting the pieces into the blaze he bowed and laid himself on the table, clasping the ''palantír'' with both hands upon his breast." [...] Gandalf in grief and horror turned his face away and closed the door. For a while he stood in thought, silent upon the threshold, while those outside heard the greedy roaring of the fire within. And then Denethor gave a great cry, and afterwards spoke no more, nor was ever again seen by mortal men.</ref>)

** "[[The Empire Strikes Back|I'll never join you!]]" He's so ragged-voiced and shocked and exceedingly [[The Woobie]] at that moment, it's up in the air whether this makes you laugh or [[Hurt Comfort Fic|want to comfort him]].

** People who actually like the Prequels can feel this way about them (especially if you are from the younger generation and grew up on them.)The Original Trilogy gets this too, for the same reason ''[[Star Trek: The Original Series|Star Trek the Original Series]]'' does: the special effects can be so bad, but the story so good.

* In ''[[The Day the Earth Stood Still]]'', [[Special Effects Failure|the robot is less than convincing]].

* ''[[Star Trek: The Original Series|Star Trek the Original Series]]'' embodies this. A stuntman crouching under a pizza has never been a more sympathetic character. And when there is [http://www.youtube.com/watch?v=RAvRBDQqSmY appropriate contrast], even a wildly overacted scene becomes downright touching. Then, of course, there's the ridiculously [[What Do You Mean It's Not Awesome?|over-the-top and bombastic]] music. Only this show could take [http://www.youtube.com/watch?v=KCamCYip2t4 this piece] and make it the most iconic fight music in television history.

** This is the reason that even the legendarily bad episodes (like, say, "[[Star Trek/Recap/S3/E01 Spocks Brain|Spock's Brain]]") are [[So Bad It's Good]] instead of completely unredeemable. TOS episodes that were heavy on the [[Narm]] were ''always'' entertaining. Compare ''actual'' bad episodes that are dull and full of [[Padding]], like "The Alternative Factor". People will go for "Brain and brain, what is brain?!" every time.

* Then there's ''[[Star Trek: The Next Generation|Star Trek the Next Generation]]'' which occasionally also runs on pure cheesiness. It's the series outright honesty and belief in itself, and its writers' (and actors') refusal to shy away from uncomfortable subjects, which means it gets away with a lot of it (when you have characters living in a future when humans are, supposedly, a much more reasonable, understanding bunch, and got there ''the hard way'' via a couple of near apolcaypses and one helluva lot of personal growth, then an audience can't help but appreciate their passion and dedication to their ideals. Even if they ''are'' pointing about dramatically and occaisonally doing flying leaps).

** It has been remarked, as well, that [[Patrick Stewart]]'s strength as an actor is his ability to deliver bad dialogue with utter conviction. Case in point is ''[[Star Trek: The Next Generation|Star Trek the Next Generation]]'': ''"THERE ARE FOUR LIGHTS!"'' Controversial. Some fans see it as [[Narm|horrible]], some as so bad it's good, while others see it as simply good, and a few even consider it a [[Crowning Moment of Awesome]] for Picard, who didn't have the strength to so much as stand but still made the effort to make a last shout of defiance.

* The bulk of [[Linkin Park]]'s first two albums. Their lyrics showed as much [[Wangst|maturity and depth]] as a twelve-year old's [[Live Journal]], but damned if Chester's [[Metal Scream|screams]] didn't have you singing along.

* [[Our Orcs Are Different|Da Orks]] of ''[[Warhammer 40000]]'' have their existence based around this trope. In the [[Darker and Edgier|grimdarkness]] of the far future, where everyone is fighting for survival or conquest or [[For the Evulz]], the Orks fight [[Boisterous Bruiser|for the hell of it]] and treat the whole thing as one big laugh, their interstellar campaigns of genocide compared to a ''pub crawl''. Their relentless obsession with [[More Dakka]], ability to perform amazing physical and technological feats [[Clap Your Hands If You Believe|solely because they believe they can]] and ridiculous [[Funetik Aksent]] combine to create a faction that can never be taken seriously, and are infinitely more enjoyable because of it. The Orcs of ''[[Warhammer Fantasy Battle]]'' on which they are based invoke this trope as well, but not to the level of the Orks.

** Read any description of something from ''[[Warhammer 40000]]'' on this wiki and you find something so incredibly absurd that it becomes absurdly incredible. For example:

* In ''[[Sonic the Hedgehog 2006 (video game)|Sonic the Hedgehog (2006)]]'', Mephiles is given some pretty bad dialogue, but [[Dan Green]] manages to make it work.

* [[Starcraft]]: Seriously, the dialogue is a Force 12 [[Cliché Storm]]. And yet, it still ''works.''

* ''[[Blaz Blue]]'': BANG BA BA BAAAAAAAAAAAAANG!!

** Being a [[World of Ham]], ''[[Blaz Blue]]'' is naturally full of this. Special mention goes to [[Big Bad|Terumi]]. He goes on ''constant'' [[Hannibal Lecture]]s and nearly every word out of his mouth is ''incredibly'' overacted. This does not make him any less effective as a villain.

* ''[[The Seventh Guest]]''—with the narrator's ghoulish puns and [[Tales from the Crypt|Cryptkeeper-style]] delivery, the lame lines spoken [[Large Ham|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.

* [http://www.youtube.com/watch?v=4vNwgosYoW0 The final battle] of ''[[Wild Arms 2]]''. A [[World of Cardboard Speech]] from the hero is expected, and an [[Eleventh-Hour Superpower]] fueled by hope and [[The Power of Friendship]] is acceptable. But when each [[Combined Energy Attack]] is preceded by ''all of humanity'' reciting sappy philosophical concepts that are rendered awkward due to a rushed translation, things start approaching critical [[Narm]]. And yet the [[Crowning Music of Awesome|amazing music]] puts you in just the right mood to accept the cheesy nonsense as genuinely inspirational.

* While it is the original [[Survival Horror]] and revolutionary for its time, the original ''[[Alone in The Dark]]'' trilogy is filled to the brim with [[Narm]] like a flask of sweet liquor. The polygonal graphics are extremely cartoonish, contrasting with the darker environments of more modern survival horror games and making the appearance of the [[Off-Model]] characters more frightening than the monsters. The soundtrack, while great listening, isn't what you'd expect from a survival horror nowadays. While the first game focused on puzzle-solving and evading monsters inspired by the [[Cthulhu Mythos]], the other games went in more action-oriented and absurd directions: the second game included the hero [[It Makes Sense in Context|gunning down zombies with a Thompson while dressed in a Santa Claus costume]] while the third had Carnby mowing down [[Ninja Pirate Zombie Robot|cowboy zombies]] [[Gatling Good|with a Gatling gun]]. The cherry on the cheesecake is easily the [[So Bad It's Good]] voice acting: almost every text is read by an over-the-top narrator, often with overblown drama and ridiculous accents.