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 已經在Subnautica玩了25個多小時，并且可能至少還有更多。 游戲將您帶入極光號飛船上的機組人員的鞋子，極光號飛船遭受災難性事故，并墜落到下方的大部分海洋行星上。 您從逃生艙開始作為您的行動基礎，然后必須從那里逃脫，收集資源并發現地球所能提供的東西，同時在您身邊播報一個故事。

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.

即使經過了許多小時，我仍然在海底發現新的物品，無論它們是外來植物的資源還是種類。 各種各樣的魚類，無論是良性的還是可怕的掠食性魚類，都大量游過，仍然令我驚訝。 盡管我已經在海底上來回數十次，但我覺得我只看到了這個世界所提供的一小部分。 Subnautica避免了許多開放世界生存游戲所陷入的陷阱，讓您始終只渴望多一些美麗而恐怖的時刻。

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.

許多游戲在努力擁有廣闊的開放世界的同時，最終陷入了一個巨大的 空白世界，而這個空白世界在深度和廣度上都做得不夠。 玩家感到無聊，穿越了一個反復的風景，很少有人居住，以保持他們的興趣。 對于生存游戲來說尤其如此，在生存游戲中，環境通常是游戲的關鍵，需要收集散布在該資源上的資源以創建庇護所或根本不餓死。

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.

如果沒有有趣的事情要做和看，開發人員可能會失去玩家進入下一個大型游戲的機會。 如果添加了故事組件，則他們必須保持情節順暢，以免玩家陷入生存困境并失去線索。 這是一個復雜的舞蹈，許多游戲都忘記了踩踏或絆倒自己的腳。 幸運的是， Subnautica比弗雷德 ·阿斯泰爾(Fred Astaire)更靠近羅德尼· 丹格菲爾德(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在保持玩家參與方面以兩種不同的方式成功。 首先，他們在世界上充滿了有趣的事物，以便與玩家互動，或者至少在玩家穿越游戲世界時加以觀察。 每個屏幕上的水和海底都散布著數百個物體，無論它們是用來開采資源的巖石，還是隨洋流運動而波瀾不驚的各種外來植物。 魚跟隨它們的先天節奏在大大小小的群體中滑動，滑過您的視野。

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.

游戲的聲音設計在游戲成功的這一特定方面起著很大的作用，因為它將玩家帶入了游戲體驗，并使其更加可信。 如果環境和生物聽起來是假的，那么世界上所有的圖形保真度和有趣的物體都將一事無成，因為這會破壞沉浸感。 值得慶幸的是，Unknown Worlds Entertainment的聲音部門已經在這里制作了令人難以置信的音景，從水聲和波浪聲開始。

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，進入深淵的漆黑漆黑狀態，便開始真正的享受。 沒有比在山洞上方漂浮更令人費解的經歷，無法辨認海洋的地面或上方的地表，然后聽到死神利維坦咆哮的聲音在附近纏著你。 或者，當您潛入比車輛更深的深度時，各種怪物的叫喊聲將您帶到完全暴露的地雷，以開采出構成基地的關鍵部分所需的最后幾顆珍貴鉆石。 這是令人興奮的東西，確實將體驗鞏固為一個可信的現實。

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成功使玩家著迷的第二個方面是故事本身。 我們將在這里完全避免破壞者，因為最重要的部分是游戲如何將故事與您聯系起來。 文本在屏幕上滾動時，沒有博覽會轉儲，也沒有游戲暫停。 播放器以緩慢的滴答聲接收故事，將您從一件事引導到另一件事，從不讓您感到不知所措，但從來沒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.

在游戲初期，逃生艙中的收音機是您獲取信息和故事進展的主要來源。 您將從一個小時的勘探和資源采購中回來，準備煮一些魚，并喝一長杯消毒水。 然后，您會看到它…收音機的閃爍指示燈，表明有新消息到達。 這些通常是預先記錄的其他逃生艙的遇險消息，是它們從行星上方大氣層中垂死的星船拋棄時所發出的。 要說更多的話就等于擾亂了人們，但足以說這些消息推動了這一陰謀，使您跨過地球尋找線索。

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.

后來，隨著您進行更多的探索并進入更深的層，這個故事以您在飛船殘骸中發現的數據板的形式出現，這些數據板散落在墜機現場或船體本身燃燒的綠巨人中。 您將在游戲開始的某個時候冒險進入那個地獄場景，并且它與游戲的其余部分一樣被很好地理解。 這些數據板為您提供了更多探索和線索的奧秘。

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.

故事變慢的唯一時間是您希望它變慢的時候。 目前，我已經掌握了足夠的技術敏銳度，可以開始認真地建立基地。 故事并不會使您脫離此任務，也不會感到事情無所適從，因為渴望制作更大更好的作品本身就是故事的一個方面。 通過故事的內容，您可以學習新的食譜，從而可以制作用于進一步探索故事的物品。 這是一個奇妙的實現循環，游戲的每個部分都增強了其他部分，創造了動力，但既不會使您過快地前進，也不會讓您無所事事。

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.

稀有的游戲我沒有時間感，數小時之久沒有通知。 我發現我在前進的幾年中擁有與游戲相關的ADD，在其中我越來越少地需要完成游戲，而我需要更多的東西才能獲得下一次體驗以了解一切。 Subnautica證明了這不是必須的，讓我沉迷了數小時，不想繼續前進到下一件大事。

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.

不僅是生存類型，就我所知，還有類似的經歷與之不符。 當我極大地欣賞這個故事時，就想到了漫長的黑暗 ，但是漫長的穿越使我再次有了舊的ADD感覺。 考慮到游戲環境，加拿大嚴峻的冬季地形，這很困難，但是很多時候，最有趣的是在雪地上的另一片荒蕪的樹木。

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，或更確切地說，向下推入漆黑的花w ，在那里我知道蘇博蒂察世界的最大奧秘正等待著我。 最重要的是，我期待更多發現的刺激，當您拼命四處尋找來源時，當怪物尖叫時，腎上腺素激增。 這些是游戲真正光芒四射的時刻，它是激發您繼續玩耍的靈巧手法，可以使它們更加明亮。