Like all forms of art, video games can replicate nearly all ranges of human emotion, from horror games that strike fear in their players to story-based games that bring tears to their eyes. On the other end of the spectrum, many games can offer players a good chuckle—some more effective than others.
Since 2005, NAVGTR has awarded games in categories including Writing in a Comedy, Lead Performance in a Comedy, and Supporting Performance in a Comedy. The list of historical NAVGTR Award winners for Writing in a Comedy reveals a wide variety of games with no clear trend:
- 2005: Psychonauts
- 2006: Sam and Max Episode 1
- 2007: The Simpsons Game
- 2008: Penny Arcade Adventures Episode 1
- 2009: Brutal Legend
- 2010: Batman: The Brave and the Bold
- 2011: The Baconing
- 2012: Thomas Was Alone
- 2013: The Stanley Parable
- 2014: South Park The Stick of Truth
- 2015: Tales from the Borderlands
- 2016: Job Simulator: The 2050 Archives
- 2017: Night in the Woods
- 2018: Fist of the North Star: Lost Paradise
- 2019: The Outer Worlds
- 2020: Immortals Fenyx Rising
- 2021: Psychonauts 2
- 2022: Teenage Mutant Ninja Turtles: Shredder’s Revenge
- 2023: Stray Gods: The Roleplaying Musical
From platformer games like Psychonauts and its sequel, to point-and-click adventure games Sam and Max and Tales from the Borderlands, to several RPGs, it’s clear that there isn’t one specific type of game that wins in this category. Indie games range from mere biting commentary (Thomas Was Alone) to quirky, minimalistic premises (Job Simulator, The Stanley Parable), comic relief characters in familiar genres (Borderlands, Immortals), and full-fledged character-driven stories (Sam and Max, Brutal Legends, Stray Gods, Night in the Woods). The comedy itself also varies from barely comic lightheartedness (The Baconing) to dramedy, musicals, traditional comedy, or just the unexplainably weird. In some cases, the situational comedy is so far from obvious that “non-drama” or “non-serious” may be the more truthful label. Seen this way, piloting a man in a pot may be considered a bizarre comedy, though few would think this for Getting Over It. Other games mostly fall into franchise service (Simpsons, Penny Arcade, Batman, Ninja Turtles, Fist of the North Star). All in all, the winners and nominees of this award vary greatly, simply due to the nature of comedy itself being a very broad and subjective category.
Conker’s Bad Fur Day
When discussing comedy in video games, Conker’s Bad Fur Day (and its Xbox remake Conker: Live and Reloaded) is often one of the first titles that spring to mind. First released on the Nintendo 64 in 2001 (and NAVGTR-nominated for “Writing, Dialogue”), Conker was unlike anything else that players had ever seen. Developed by Rare, some of the studio’s previous titles such as the Banjo-Kazooie games featured elements of comedy, but it was Conker where the developers truly embraced their comedic chops.
In Conker, players control the title character, an alcoholic squirrel who must make his way back home to his girlfriend after a night of binge drinking. The game features a wacky cast of characters throughout, including an opera-singing pile of poo, a flower with breasts, evil teddy bears, and much more.
Part of Conker’s humor is derived from the absurdity of its situations and world – and of course, the juxtaposition of its Saturday morning cartoon style with its violent and crass characters. The game feels like an Adult Swim cartoon crossed with Alice in Wonderland. Conker goes from one set piece to another; nothing in the world makes sense. But this perfectly matches Conker’s gameplay, which is equally all over the place. Featuring platforming, puzzle-solving, action, and even third-person-shooter sections, Conker’s gameplay is scattershot and even quite unpolished in sections – but in turn, this works in parallel to the game’s unpredictably silly world and story.
Comedy Quotient
It’s fair to say that there are two different categories regarding comedy in video games: comedy-focused games, and games that incorporate comedy.
Conker is a comedy game, through and through. Its primary focus is its comedic storytelling, with its gameplay taking a backseat. These games, when done well, can have long-lasting appeal but aren’t the only ways that video games can successfully feature comedy.
The other side of comedy in games is titles that are defined by their gameplay but feature funny writing and characters. Just like TV and film, video games don’t have to primarily fall into one singular genre. Films that are primarily defined as sci-fi, horror, action, and drama genres can also feature great comedic writing, just as video games that are first person shooters, open-world RPGs, or puzzle games can also feature comedy. The blending of genres is nothing new.
But, is one superior to the other? Let’s unpack both approaches and see if one has been more successful than the other over the years.
South Park and High on Life
Comedy-focused games are unique in that they are not defined in the same way as most games; as Conker’s Bad Fur Day illustrates, comedy games are not necessarily bound by one single gameplay genre but can be any style of gameplay. The gameplay isn’t the selling point.
Two great examples of this are South Park: The Stick of Truth and High on Life.
The Stick of Truth is a successful comedy game as it perfectly replicates the world, art, and comedic writing style of the adult animated cartoon South Park. And it makes perfect sense why this game feels so close to its source material, with the show’s creators Matt Stone and Trey Parker closely involved in the game’s development.
Gameplay-wise, The Stick of Truth is an RPG, with fairly basic but functional turn-based combat. While it isn’t anything revolutionary, it doesn’t have to be, as the game is comedy-focused. Fans play the game because of its comedy, first and foremost, with its gameplay merely acting as a vessel to go from one comedic situation to the next.
High on Life, developed by Squanch Games, is in a similar boat. This game was developed by some of the creators and writers of the adult animated cartoon Rick and Morty, and as a result, much of its comedic DNA is shared with the popular television series. High on Life is a first person shooter where the player’s weapons (yes, weapons!) are the main characters, each with a unique personality. While its FPS gameplay is great, it is by no means the selling point – instead, the comedic writing takes center stage.
Octodad
But while both of these games are centered around their comedic writing, they still feature solid gameplay. Some comedy games go a step further and work solely because of their writing. Octodad: Dadliest Catch is a shining example. Starring an octopus man disguised as a human dad, the game features gameplay that is purposefully terrible, working in tandem with the game’s ridiculous premise and comedic story.
Octodad’s greatest challenge is, well, controlling Octodad himself. Because he is an octopus, Octodad has trouble maneuvering around, so the game’s controls are purposefully unwieldy. This feeds directly into the game’s humor, as the player gets into hilarious situations simply by attempting (and failing) to accomplish basic tasks such as grocery shopping or gardening. Octodad is an excellent example of how a game can be carried solely by its comedy; gameplay can take a back seat or even be outright terrible as long as it works in tandem with or enhances a game’s comedy humor.
Borderlands and Saints Row
There are plenty of games out there that may not be categorized as “comedy games” but still utilize and are enhanced by comedic writing, both in large and small capacities.
One easy example of this is the Borderlands series. While its Mad Max-inspired world isn’t exactly brimming with humor, it does feature many characters who exhibit comedic personalities, namely the iconic robot Claptrap. As of 2024, the series has won 5 NAVGTR awards in the comedy categories for the years 2012 and 2015. Winning performances include David Eddings as Claptrap, Dameon Clarke as Handsome Jack, Troy Baker as Rhys, and Erin Yvette as Sasha. Tales from the Borderlands won for Writing in a Comedy. The series can be humorous at times, but players don’t flock to the series for its comedy, nor is it necessarily a selling point for most. The game is defined by its gameplay, but for many players, it is further enhanced by its comedy.
Saints Row is another example to an even greater extent. While initially starting as a Grand Theft Auto clone in its first entry, the series slowly began to lean more and more into comedy with every entry, especially Saints Row The Third and Saints Row IV. While the series is an open-world adventure at its core, it is widely known for its over-the-top comedic tone. While it may not be considered a “comedy game,” its sense of humor is certainly one of the series’ biggest selling points. The series was NAVGTR-nominated in 2006, 2011, and 2013.
Two Sides of the Same Coin
Whether a game is designed with comedy as its core purpose or simply uses it to enrich the experience, humor adds a unique layer that resonates deeply with players. From the hilariously absurd escapades of Conker to the sarcastic antics of Borderlands and the slapstick frustrations of Octodad, there’s no one way to be funny in gaming. Comic games offer a refreshing space for laughter and lighthearted fun in a medium where emotional impact is often tied to challenge or suspense. As game developers continue to experiment, we can look forward to even more innovative and side-splitting experiences that will keep players smiling long after the credits roll.
Submit Your Video Game
Properly injecting comedy into a game’s world, story, and characters can help elevate it above the competition and make it truly award-worthy. If you’ve developed a game that you feel is award-worthy, then consider submitting it to NAVGTR. Check the submission period and nominate your game today.