From a design standpoint,
humor in video games works best when the game does not try to control the punchline. It creates a system and simply gives several players just enough agency to interfere with one another.
Human: Fall Flat does this through intentionally awkward movement and physics. The controls are readable enough to understand but imprecise enough that carrying an object or helping another player over a ledge can turn into slapstick. Lethal Company’s proximity voice chat, on the other hand, is part of the actual game state: distance cuts information off, and voices disappear behind walls. That’s why players are frequently forced to act before they know what happened to the rest of the team. Which leads to some hysterical fails.
The same principle drives a lot of the current
friendslop games wave. These tend to prioritize low-friction co-op and unstable situations. Players enjoy cheap, chaotic games because they themselves become part of the mechanic.
For developers studying the best funny games, the useful lesson is not “add more jokes.” It is to design failure states players can understand, survive, blame on each other, and immediately want to try again.