There is no minimap in Blood of Rations, and no music in a raid. That was decided early and it has never been in question. What it means in practice is that everything you know about the world beyond your own eyes has to arrive through your headset.

For months that promise had a hole in it. Gunfire went silent past twenty-five metres, so a firefight on the far side of the airfield was a firefight you walked into. The deserters, hunting the woods since June, fought without a word. The world was quiet, and quiet reads as empty.

This week we filled it. A rifle now carries two hundred metres, a grenade two hundred and fifty, and each falls away in a straight line, so distance means something again. Deserters speak — twenty-six German lines, muttered to themselves, shouted when one of them sees you, cut short when one of them is hit. And every item you can carry has its own sound as it moves through the grid, so your own hands are audible too. A gunshot you did not fire is the only marker this game will ever hand you. It should be worth listening for.

New

Deserters speak. Twenty-six German lines across idle muttering, spotting you, engaging, calling a kill, and taking a hit. Every soldier in the raid hears them from where the speaker is standing.
Per-item sound. All eighty-eight items now have their own pickup and place sound in the stash and raid grids, three takes each, instead of a shared family noise.
Menu music. Six gramophone tracks on the landing screen, with faint rain and a fire beneath them, and embers drifting over the diorama.
The bunker stops being grey. All thirteen stations carry real props at every upgrade tier, on a war-torn texture set rather than flat colour.
The vault door is a door. It was one slab at all three tiers, so two paid upgrades bought you a few centimetres of thickness. Now it is three doors: timber bracing over salvaged plate, a hinged plate with a swung locking bar, and a sealed steel leaf with a dogging wheel and a gasket ring.
The bunker breathes. Intake drawn through the wall and away from the exhaust, an extract added, flues on both stoves, and every grille facing the right way.
Room tone underground. Each of the bunker’s nine rooms has its own ambience, and the hearth crackles.

Changes

Gunfire carries. Pistols to one hundred and fifty metres, submachine guns to one hundred and seventy-five, rifles and the MG42 to two hundred, a grenade to two hundred and fifty.
Deserter weapons sound like themselves. A Thompson patrol cracks like a Thompson rather than falling back to a stand-in rifle.
Melee lands on its own sounds — the trench knife and entrenching tool, not bullet impacts — and the attacker hears the hit as well as the victim.
Bolt rifles click dead on an empty chamber.
Footsteps on dirt gained more variants, so a long walk repeats less.
Every positional sound is mono throughout, so direction reads cleanly.
Settings open on your monitor’s native resolution, graphics changes are staged behind an apply step, and audio starts lower than it did.

Fixes

A deserter shot during its death animation could still fire back. It cannot.
Seventy ground-loot points on the Ardennes airfield were dead. They are live.
Dragging out of a container in a shared raid: the icon follows the cursor again, and a refused take now tells you it was refused.
The death muffle did not play in networked raids.
Two Ardennes spawn points sat away from their intended positions.
The context menu no longer confirms actions that never happened.

Known issues

The bunker’s new lighting is still being tuned. Some stations read darker than intended.
A rebuilt Ardennes airfield is under construction — eleven zones, laid out and walkable. It is not in rotation yet.

New here? Blood of Rations is a WW2 extraction shooter — solo PvPvE raids in 1944 occupied Europe, Early Access on Steam 5 November 2026. If this is your kind of game, wishlist it on Steam. It is still the number that matters.