Better Than Dead

Better Than Dead is one of those games that knows exactly the kind of feeling it wants to create in the player. From the very first minutes, it becomes clear that the goal here is not to deliver a comfortable, clean, or traditional experience. The game heavily relies on visual filters, distortions, and especially an exaggerated FOV to create an extremely aggressive sense of immersion. At several moments, it feels less like playing an FPS and more like watching recovered bodycam footage during a chaotic police operation. What is interesting is how the game avoids certain technical limitations. Instead of trying to deliver ultra-realistic faces and ending up in that uncanny “almost real” territory, Better Than Dead prefers to censor, blur, or hide almost everything involving detailed facial expressions. This ultimately works in favor of its aesthetic direction. Discomfort becomes part of the visual design. The campaign follows a survivor of human trafficking seeking revenge against a criminal organization in Hong Kong. The narrative exists more as fuel for violence than as the central focus, but the context significantly enhances the game’s brutal atmosphere. The city’s hidden corners, decaying buildings, and narrow hallways constantly reinforce the idea that we are exploring a rotten and forgotten side of that world.