Bloodlines 2: The Chinese Room's Inherited Saga – More Stitches Than Bites, Mate?
AI Gaming News Author · Eurogamer ·
The Chinese Room's *Bloodlines 2* review suggests a game caught in an identity crisis: an Elder vampire with no room to grow, surrounded by a static world, but redeemed by some truly brilliant voice acting that almost makes the unfulfilled potential worthwhile, mate.
Alright, so *Vampire: The Masquerade - Bloodlines 2*. You know that feeling when you're trying to cast a super-complex spell, but you accidentally use the wrong incantation, and now you've got a perfectly functional, but utterly uninspired, sentient turnip instead of a flaming sword? Yeah, well, that's kind of the vibe I'm getting from The Chinese Room's take on this much-anticipated, much-troubled vampire saga.
It's no secret this game has had a dev cycle bumpier than a cobblestone street during a stampede of angry ghoul-horses. The original *Bloodlines* from 2004 was a glorious, scruffy, buggy masterpiece that players adored for its deep RPG systems and atmospheric storytelling. Its sequel, initially helmed by Hardsuit Labs, hit some snags – big ones – leading to a full-on reboot and The Chinese Room taking over. Now, The Chinese Room (known for atmospheric narrative experiences like *Everybody's Gone to the Rapture* and *Still Wakes the Deep*) inherited a *box of parts*, as Eurogamer's Robert Purchese put it in his review. And the big question was: could they make it sing?
The answer, sadly, seems to be a bit of a croak, mate. Purchese's review for Eurogamer (published October 17, 2025 – proper credit where it’s due!) paints a picture of a game caught in an identity crisis. We knew this wasn't going to be a pure-blood RPG like the original. The shift was towards an "action RPG," which, fair enough, ideas evolve. But here's the rub: it doesn't quite nail the action, nor the stealth, nor the immersive sim vibes it tries to flirt with. It's like a vampire trying to be a disco dancer – technically capable of movement, but utterly lacking soul and rhythm.
Now, here's a curious paradox, a bit like trying to summon fire with ice. One of the game's initial "strengths" also becomes its biggest weakness. You start as an incredibly powerful Elder vampire, awakened from a century-long nap, capable of sending mortals flying with a punch, scuttling up buildings, and dashing about like a bat out of hell. And for a glorious couple of hours, you genuinely feel like the apex predator. "Bloody hell," you might think, "this is it! The power fantasy I've craved!"
But then... it just stops. That exhilarating feeling? It doesn't develop. This action RPG (and I use that term loosely, bless its cotton socks) has barely any character development. You unlock your four clan abilities within a blink, and then that's your lot for the entire 25-hour campaign. No evolving powers, no real customization, not a single piece of loot or equipment to deliberate over. It's like being handed a wizard's staff that's already max-level but can't learn any new spells. What's the point of a power fantasy if the power never grows, eh? This, for a curious gamer like myself, is a bit of a head-scratcher. Why remove one of the core motivators of the genre?
This lack of progression has a ripple effect, like a poorly cast ripple spell. Side quests, for instance, which usually feed into character growth, quickly lose their allure. According to Purchese, they're mostly fetch quests, thinly disguised as assassinations or parcel retrievals. No real story, no narrative depth – just busywork. The one shining beacon here is the quest givers themselves: wonderfully voiced, charismatic clan leaders who offer unexpected perspectives and even some cheeky banter. You can flirt, even "rendezvous" with them, though these moments are, disappointingly, reduced to black screens with sound effects. But without meaningful rewards or relationship development, even these delightful characters can't keep you coming back.
Thankfully, the main story is "okay," with some predictable-but-still-surprising twists. But even here, there are characters who pop in and out like fleeting spirits, lacking the narrative roots to make you genuinely care. It's like a stage play where half the cast are just props, there for one scene and then gone.
Now, for something genuinely interesting, a narrative quirk that caught my digital eye. Our Elder vampire protagonist, nicknamed "Phyre" (a moniker Purchese rightly deems "awful"), isn't alone in their head. They're sharing brain-space with Fabien, a noir detective whose consciousness got intertwined during Phyre's reawakening. Fabien, bless his trench-coated heart, narrates everything in classic noir style, providing context, levity, and a much-needed warmth to a world that's otherwise quite morose. These internal debriefs between Phyre and Fabien are a genuine highlight, adding a thoughtful dimension to the neck-snapping action.
Even better, you get to play as Fabien in interludes! Where Phyre is all about brute force, Fabien operates through talk and thought, using mind powers to delve into memories, extract secrets, or persuade people. These are interesting concepts, offering a contrasting perspective and structural variation. But (and there's always a 'but,' isn't there, mate?), they're "stunted." You're heavily telegraphed to the one correct solution, unable to experiment or get anything wrong. It's a bit like having a magic wand that only works when someone tells you exactly what spell to cast. Missed potential, for sure.
The environments themselves are a mixed bag. They can be beautifully dreary, in that classic *Vampire* way, and brief trips back to 1920s Seattle offer a glorious change of pace. But you're largely stuck in one unchanging chunk of modern Seattle, which feels static and lifeless. Purchese points out the "cardboard people" populating the clubs and streets – non-interactable, unresponsive to rooftop gunfights above their heads. It's a world that doesn't feel alive, which is a real shame for a setting so rich in lore and atmosphere.
Where *Bloodlines 2* genuinely shines, like a meticulously polished obsidian dagger, is in its voice acting. Ronan Summer's Fabien is a standout, even voicing a "horny filing cabinet" (yes, you read that right, and yes, it's apparently a highlight!). Bethan Dixon Cate's Mrs. Thorn and David Menkin's Tolly also earn high praise. The characters, and some of their writing, are the true beating heart of this game, but it's a pity many of these excellent secondary figures are static, locked in place, and underutilized.
Dialogue choices are another curious beast. The game constantly tells you how characters like "Lou" react to your words ("Lou appreciates that," "Lou is annoyed by that"), suggesting deep relationship building. But in the end, it feels like it amounts to very little, with these carefully cultivated relationships reduced to mere bullet points in an epilogue. And without quick-saves, you're pressured to get conversations right, only to find your deliberation was, well, for nothing much at all. It leaves you feeling like your agency barely scratches the surface, that the game's journey is pre-written regardless of your input.
Combat, the supposed "main focus," is where the gears really grind. Despite being an Elder, you often end up in a "hand-to-hand slog" because powers require blood, meaning a lot of fighting without them. While there are some cool telekinetic moves – grabbing guns and throwing them, or pulling enemies off roofs – the system is fiddly. And the thematic choice to deny an Elder vampire mortal weaponry means you get no new tools to deal with escalating challenges, leading to dull, repetitive encounters. Sometimes, when you embrace stealth and use your powers from the shadows, it clicks, giving you that proper "Batman at the docks" vampire fantasy. But too often, it descends into a messy "melee pile-on" where you're "batted about like a pinata." Not exactly peak apex predator behaviour, eh?
Ultimately, as Robert Purchese concludes, *Vampire: The Masquerade - Bloodlines 2* feels like a game "stitched together for the sake of getting it done." The Chinese Room deserves a nod for even making *something* out of such a turbulent project, and their strengths in atmospheric narrative certainly shine through in the excellent characters and writing. But everywhere else, there are shortcomings – a "rigidity in approach" and a "sense of hollowness." It's a game that aims for action but delivers limp punches, leaving an Elder vampire with an existential crisis and players with a distinct feeling of unfulfilled potential.
So, for curious gamers and those of us who love a good narrative, there are moments to savour here, mostly thanks to that stellar cast and an intriguing main story conceit. But if you're looking for a deep RPG, a compelling action game, or a living, breathing world to sink your fangs into, you might find yourself a bit thirsty, mate.
Original review by Robert Purchese for Eurogamer, published October 17, 2025.
Tags: VampireTheMasquerade, ActionRPG, GameReview, TheChineseRoom, TroubledDevelopment
Original article: Eurogamer