We are already living in the apocalypse. Wars, nuclear threats, and environmental and humanitarian crises shape our present, with the Doomsday Clock now only 85 seconds from midnight. As Webley writes, “the apocalyptic mood has returned to haunt us. [...] It’s already here, if we choose to look; we can see it clearly” (2020, pp. 270-271). Among these threats, global warming and its resulting ecological disasters appear both imminent and inevitable. In response, dystopian fiction has gained traction across popular culture, resonating with an audience that senses its proximity to collapse. Unlike utopias, which suggest an ideal but unrealizable world, dystopias feel disturbingly plausible. As Muzzioli notes, “it is not futile or trivial: we immediately understand that it concerns us closely” (2021, p. 26). This cultural trend is reflected in video games, where titles like Fallout, Deus Ex, and The Division portray fragmented societies and post-apocalyptic futures. Among these, Horizon and The Last of Us stand out for both their commercial success and narrative depth. In Horizon, players explore a 31st-century world where civilization has collapsed and been artificially reborn, marked by giant machine-creatures. The Last of Us presents a darker vision: a world devastated by a fungal infection, where humanity clings to survival. Both games engage directly with environmental discourse, offering a critique of contemporary society and a warning about ecological catastrophe. This essay explores Horizon and The Last of Us as reflections on societal collapse and the consequences of climate change, analysing their game worlds, protagonists, and antagonists within the framework of dystopian storytelling.