I’ve been playing Subnautica for over 25 hours now, and likely have at least that many more to go. The game puts you in the shoes of a crew member on the Aurora, a spaceship that suffers a catastrophic incident and plummets to the largely oceanic planet below. You start with an escape capsule as your base of operations, and have to build out from there, collecting resources and discovering what the planet has to offer, while a story plays out around you.

我 已经在Subnautica玩了25个多小时，并且可能至少还有更多。 游戏将您带入极光号飞船上的机组人员的鞋子，极光号飞船遭受灾难性事故，并坠落到下方的大部分海洋行星上。 您从逃生舱开始作为您的行动基础，然后必须从那里逃脱，收集资源并发现地球所能提供的东西，同时在您身边播报一个故事。

Even after these many hours, I’m still finding new items on the ocean floor, be they resources or species of alien plants. Fish of all kinds, both benign and terrifyingly predatory, swim past in massive numbers, still surprising me with their variety. Though I’ve been back and forth across the sea floor dozens of times, I feel that I’ve seen only a small percentage of what this world has to offer. Subnautica has avoided the traps that many open-world survival games fall into, leaving you always craving just a few more beautiful, terrifying moments.

即使经过了许多小时，我仍然在海底发现新的物品，无论它们是外来植物的资源还是种类。 各种各样的鱼类，无论是良性的还是可怕的掠食性鱼类，都大量游过，仍然令我惊讶。 尽管我已经在海底上来回数十次，但我觉得我只看到了这个世界所提供的一小部分。 Subnautica避免了许多开放世界生存游戏所陷入的陷阱，让您始终只渴望多一些美丽而恐怖的时刻。

Many games, in their push to have a big open world, end up with a huge empty world that doesn’t have enough to do across its breadth and depth. The player is left bored, with long stretches of traversal across a repetitive landscape inhabited by few creatures to keep their interest. This is especially true with survival games, where the environment is often the key to the game, resources scattered about that need to be collected in order to create a shelter or simply not starve to death.

许多游戏在努力拥有广阔的开放世界的同时，最终陷入了一个巨大的 空白世界，而这个空白世界在深度和广度上都做得不够。 玩家感到无聊，穿越了一个反复的风景，很少有人居住，以保持他们的兴趣。 对于生存游戏来说尤其如此，在生存游戏中，环境通常是游戏的关键，需要收集散布在该资源上的资源以创建庇护所或根本不饿死。

Without interesting things to do and see, the developers risk losing the player to the next big game to come along. If the have added a story component, they must keep the plot flowing, lest the player get bogged down in surviving and lose the thread. It’s a complicated dance, where many games forget the steps or stumble over their own feet. Thankfully, Subnautica is closer to Fred Astaire than to Rodney Dangerfield.

如果没有有趣的事情要做和看，开发人员可能会失去玩家进入下一个大型游戏的机会。 如果添加了故事组件，则他们必须保持情节顺畅，以免玩家陷入生存困境并失去线索。 这是一个复杂的舞蹈，许多游戏都忘记了踩踏或绊倒自己的脚。 幸运的是， Subnautica比弗雷德 ·阿斯泰尔(Fred Astaire)更靠近罗德尼· 丹格菲尔德(Rodney Dangerfield)。

Subnautica succeeds in two different ways when it comes to keeping the player engaged. First, they have packed the world with interesting things to interact with or, at the very least, to look at as players traverse the game world. The waters and sea floor are scattered with hundreds of objects per screen, whether they be rocks from which to mine resources, or various alien flora waving placidly with the motion of the currents. Fish glide across your view, following the innate rhythms of their species in groups both small and large.

Subnautica在保持玩家参与方面以两种不同的方式成功。 首先，他们在世界上充满了有趣的事物，以便与玩家互动，或者至少在玩家穿越游戏世界时加以观察。 每个屏幕上的水和海底都散布着数百个物体，无论它们是用来开采资源的岩石，还是随洋流运动而波澜不惊的各种外来植物。 鱼跟随它们的先天节奏在大大小小的群体中滑动，滑过您的视野。

The game’s sound design plays a huge part of this particular facet of the game’s success, as it pulls the player into the experience and makes it all the more believable. All the graphical fidelity and interesting objects in the world would be for naught if the environment and creatures sounded fake, as it would break the sense of immersion. Thankfully, the sound department at Unknown Worlds Entertainment has crafted an incredible soundscape here, starting with the water and wave noises.

游戏的声音设计在游戏成功的这一特定方面起着很大的作用，因为它将玩家带入了游戏体验，并使其更加可信。 如果环境和生物听起来是假的，那么世界上所有的图形保真度和有趣的物体都将一事无成，因为这会破坏沉浸感。 值得庆幸的是，Unknown Worlds Entertainment的声音部门已经在这里制作了令人难以置信的音景，从水声和波浪声开始。

The real treats start once you slip below the waves, into the inky blackness of the deep. There is no more gut wrenching experience than floating out over a cavern, not being able to discern the floor of the ocean nor the surface above, then hearing the growling scream of a Reaper Leviathan stalking you nearby. Or the cries of various monsters as you dive deeper than your vehicle can take you, fully exposed, to mine the last few precious diamonds needed to make a critical piece of your base. It’s heady stuff and really cements the experience into a believable reality.

一旦您滑入海浪，进入深渊的漆黑漆黑状态，便开始真正的享受。 没有比在山洞上方漂浮更令人费解的经历，无法辨认海洋的地面或上方的地表，然后听到死神利维坦咆哮的声音在附近缠着你。 或者，当您潜入比车辆更深的深度时，各种怪物的叫喊声将您带到完全暴露的地雷，以开采出构成基地的关键部分所需的最后几颗珍贵钻石。 这是令人兴奋的东西，确实将体验巩固为一个可信的现实。

The second aspect where Subnautica succeeds in keeping its players engrossed is the story itself. We will stay away from spoilers altogether here, as the most important part is how the game relates the story to you. There are no exposition dumps, no pauses in the game while text scrolls across the screen. The player receives the story in slow drips, leading you on from one thing to the next, never overwhelmed but never with a lack of things to do.

Subnautica成功使玩家着迷的第二个方面是故事本身。 我们将在这里完全避免破坏者，因为最重要的部分是游戏如何将故事与您联系起来。 文本在屏幕上滚动时，没有博览会转储，也没有游戏暂停。 播放器以缓慢的滴答声接收故事，将您从一件事引导到另一件事，从不让您感到不知所措，但从来没有缺少任何事情要做。

Early in the game, the radio in your escape capsule is your primary source of information and story progression. You’ll come back from an hour of exploration and resource procurement, ready to cook up some fish and take a nice long drink of disinfected water. Then you see it…the blinking light of your radio, indicating a new message has arrived. These are typically pre-recorded distress messages from other escape capsules as they jettisoned from the dying star ship in the atmosphere above the planet. To say more would be to get into spoilers, but suffice to say these messages drive the plot, sending you across the planet in search of clues.

在游戏初期，逃生舱中的收音机是您获取信息和故事进展的主要来源。 您将从一个小时的勘探和资源采购中回来，准备煮一些鱼，并喝一长杯消毒水。 然后，您会看到它…收音机的闪烁指示灯，表明有新消息到达。 这些通常是预先记录的其他逃生舱的遇险消息，是它们从行星上方大气层中垂死的星船抛弃时所发出的。 要说更多的话就等于扰乱了人们，但足以说这些消息推动了这一阴谋，使您跨过地球寻找线索。

Later, as you explore more and can get to greater depths, the story comes in the form of data pads you find in the wreckage of the starship, either scattered about the crash site or in the flaming hulk of the ship itself. You will venture into that hellscape at some point during the early hours of the game, and it is just as well realized as the rest of the game. These datapads provide you with yet more places to explore and clues to the overall mystery.

后来，随着您进行更多的探索并进入更深的层，这个故事以您在飞船残骸中发现的数据板的形式出现，这些数据板散落在坠机现场或船体本身燃烧的绿巨人中。 您将在游戏开始的某个时候冒险进入那个地狱场景，并且它与游戏的其余部分一样被很好地理解。 这些数据板为您提供了更多探索和线索的奥秘。

The only time the story slows down is when you want it to do so. Currently, I have achieved enough technical acumen with which to begin constructing a base in earnest. The story does not pull you away from this task, nor do you feel at a loss of things to do, as the desire to build bigger and better pieces is a facet of the story in itself. Through the story bits you learn new recipes, which will allow crafting of items you will use to further explore the story. It’s a wonderfully realized loop, where each part of the game reinforces the other parts, creating momentum but neither pulling you forward too fast nor leaving you adrift with nothing to do.

故事变慢的唯一时间是您希望它变慢的时候。 目前，我已经掌握了足够的技术敏锐度，可以开始认真地建立基地。 故事并不会使您脱离此任务，也不会感到事情无所适从，因为渴望制作更大更好的作品本身就是故事的一个方面。 通过故事的内容，您可以学习新的食谱，从而可以制作用于进一步探索故事的物品。 这是一个奇妙的实现循环，游戏的每个部分都增强了其他部分，创造了动力，但既不会使您过快地前进，也不会让您无所事事。

Rare is the game where I have no sense of time, where hours slip by without notice. I find I have game-related ADD in my advancing years, where less and less do I fell the need to finish games, more that I need to get to the next experience to see what it is all about. Subnautica has proven that this need not be true, leaving me enthralled for hours on end with no desire to move on to the next big thing.

稀有的游戏我没有时间感，数小时之久没有通知。 我发现我在前进的几年中拥有与游戏相关的ADD，在其中我越来越少地需要完成游戏，而我需要更多的东西才能获得下一次体验以了解一切。 Subnautica证明了这不是必须的，让我沉迷了数小时，不想继续前进到下一件大事。

It isn’t just the survival genre, for as much as I love it, there have been similar experiences which didn’t match up to this. The Long Dark comes to mind, as I enjoyed the story immensely but the long patches of traversal caused me to have the old ADD feeling again. It’s difficult given the game’s environment, a harsh winter landscape in Canada, but many times the most interesting thing to see was just another patch of barren trees along the snow-bound path.

不仅是生存类型，就我所知，还有类似的经历与之不符。 当我极大地欣赏这个故事时，就想到了漫长的黑暗 ，但是漫长的穿越使我再次有了旧的ADD感觉。 考虑到游戏环境，加拿大严峻的冬季地形，这很困难，但是很多时候，最有趣的是在雪地上的另一片荒芜的树木。

So onward I push, or more precisely downward, into the pitch-black maw where I know the greatest mysteries of Subnautica’s world await me. More than anything, I’m looking forward to the thrill of further discoveries, the adrenaline rush when a monster screams as you twist around searching desperately for the source. These are the moments where the game truly shines, and it’s deft touch in motivating you to keep playing allows them to shine all the brighter.

因此，向前推，或更确切地说，向下推入漆黑的花w ，在那里我知道苏博蒂察世界的最大奥秘正等待着我。 最重要的是，我期待更多发现的刺激，当您拼命四处寻找来源时，当怪物尖叫时，肾上腺素激增。 这些是游戏真正光芒四射的时刻，它是激发您继续玩耍的灵巧手法，可以使它们更加明亮。