Bleakmill’s 2021 debut, INDUSTRIA, was a flawed walking simulator with Half – Life 2 vibes. Despite technical issues, the German studio’s first title impressed with its brutalist style and intriguing narrative. The sequel, INDUSTRIA 2, arrived with the promise of fixing those early mistakes, yet it ultimately took a different and more complicated path.
- Title: INDUSTRIA 2
- Genre: First – person shooter
- Platform: Windows
- Language: English
- Developer: Bleakmill
- Publisher: Bleakmill
- Store: Steam
The story resumes exactly where the original ended, with Nora finding her partner Walter merged with the ATLAS consciousness. After his inevitable death, Nora survives alone until she detects a mysterious non – machine signal. This leads her to Marlene, a girl from her own world who is actively searching for her.
Their goal is to return to the GDR in 2009, as Nora lost twenty years during her spatial travels. In this timeline, East Germany still exists and even produces updated Super Trabants. To get home, they must cross a world ruined by ATLAS, navigating through dangerous robot – infested tunnels and urban ruins.
Fans expected improved gunplay, but the developers chose a “horror – style” combat system instead. Firing now requires a deliberate three – step process: readying the weapon, aiming, and finally pulling the trigger. This mechanical choice requires players to use three different buttons for every single shot.
Combat feels sluggish, as if the protagonist is performing every action underwater. Reloading the revolver feels like it takes an eternity, making it faster to swap weapons via the backpack than to wait for an animation. Those seeking a refined shooter experience will likely be disappointed by these heavy mechanics.
The game features only two boss fights, which stand out as some of the most lackluster encounters in the genre. They are slow, repetitive, and entirely uninteresting to play. These segments fail to provide the excitement one would expect from a major encounter.
Elements from the Metro series are clearly visible in the sequel’s minimalistic design. It features a limited HUD, a two – weapon inventory, and manual crafting with very scarce resources. Interactions such as opening drawers or charging devices must be done manually to boost immersion.
While stealth and mines are available, the detection system functions poorly. Enemies, especially human ones, seem to see the player even in total darkness once they are alerted. The inclusion of human enemies feels like a mistake that hurts the game’s unique atmosphere.
Weapon upgrades like silencers and magazines are available, though the progression system is poorly explained. Many players might only discover the upgrade and shop features in the final portion of the campaign. The lack of a proper tutorial makes these survival elements feel transparent.
The first game’s appeal was its “hollow” world and City 17 aesthetic. INDUSTRIA 2 maintains the visual style and adds liminal spaces, yet it lacks the impact of the original. The most striking moments previously occurred in open urban areas under massive ATLAS structures.
The sequel reduces outdoor segments, favoring empty industrial corridors and underground tunnels. This shift hides the architecture that made the first game special for many fans. Additionally, the lore – heavy Library from the first title has been completely removed from this version.
Technically, graphics are improved with ray tracing support, though performance suffers. DLSS frame generation is almost mandatory to maintain a stable experience. Despite the tech, many rooms feel empty and repetitive throughout the journey.
Technical issues persist, including long shader pre – calculation times at every launch. Furthermore, the promised Ukrainian localization is broken, appearing as a Chinese language option instead. Despite several recent patches, this remains unfixed for players.
The experience is very short, lasting only about three hours for a direct playthrough. Players focusing on survival elements might take five to seven hours to reach the end. Without the forced slow movement and physical interactions, the game would be much shorter.
Bleakmill seems to have removed the charm of the original. While Nora’s story ends with her still trapped, it is hard to recommend this game. Artistic direction has taken a backseat to technical changes.
The ending suggests a possible sequel involving the character Brent, who communicates via radio. However, given the poor sales and reception of this entry, a third game seems unlikely. This sequel may be the final chapter for the series.
