Unknown World's sublime art design has not lost any of its charm, either, expertly utilising colour washes, lighting, and fauna to conjure up a breathtaking world beneath the surface, giving each biome its own identity while juggling moments of awe and fear within them. The sea train is a particular highlight, as a mobile base of operations that offers versatility, convenience, and (relative) security for the more ambitious excursions into the planet's depths.īelow Zero also performs a lot better than its counterpart, with less texture pop-ins, framerate drops, and hard crashes, at least on PS5. Unknown Worlds has expanded the suite of tools and resources available to the player, allowing them to build more elaborate sea bases, experiment with new toys such as the Spy Pengling, and explore its shores with a range of customisable vehicles. While Subnautica's identity as a horror game may be somewhat… *ahem* watered down in Below Zero, its crafting mechanics have only been improved and enhanced. "Below Zero suggests that Unknown Worlds has now reached the seabed of Subnautica's potential." That's not to say I didn't fear the appearance of Below Zero's predators, but their sudden arrivals didn't launch me out of my seat as it might have done in Subnautica, since I was never as totally drawn into its world in the first place. While Unknown Worlds has introduced a number of new Leviathan creatures for Robin to contend with, the story's tendency to interrupt the immersive ambience of its environments imposes a degree of attentive distance from its threats. That's a shame, because that isolation was exactly what made the original Subnautica so evocative as a survival horror game, especially since the harrowing sound design of its ocean comes to life when the talking stops.īelow Zero features less frights than its predecessor overall, in fact. Once Robin's consciousness is invaded by a sentient superintelligence known as an Architect early on in the campaign, the pair's inner dialogue remains a constant throughout the rest of the game, used to either contextualise discoveries with exposition and lore, push the player towards the next objective, or generally break the sense of isolation that was so pervasive in its predecessor. Brooks, meanwhile, brings heart and humanity to new protagonist Robin, and her quest to figure out what happened to her sister on the frozen tundras of 4546B isn't without its moments of emotional payoff.īut that story is often too keen to maintain control of what should be a self-guided survival adventure. Unknown Worlds gets to explore more of the science-fiction backdrop it first established with Subnautica, for example, colouring in the exploitative Alterra Corporation with more nuanced and satirical shades of nefariousness (motivational posters are considered contraband within on-planet research stations). With full voice acting, NPC interactions, and a defined set of narrative beats, the expansion offers a survival experience that's more choreographed in structure, and – to its credit – that's not an entirely bad thing. Subnautica: Below Zero goes in the other direction, pushing its plot to the front of your adventures at the expense of letting the miasmic mysteries of its world tell its own stories. Sure, it's interesting to learn about the true nature of your stranding on this planet, but narrowly escaping a Reaper, or first setting eyes upon a pod of Feedback Whales… these were the experiences that kept me coming back. The answers to those questions are slowly drip-fed to the player through their own discoveries, but that larger narrative is backgrounded against the more immediate and compelling watercooler moments drawn from exploring Subnautica's world.
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