Subnautica 2's approach to its open world, particularly its notable lack of conventional weaponry, is prompting discussions about the genre's inherent ties to conquest and colonial fantasies. The game, currently in early access, positions players not as conquerors, but as disposable labor, a narrative choice that challenges the typical player agency found in many open-world titles.
While exploring the alien oceans of Subnautica 2, players often navigate two distinct experiences. One is the dynamic, independent ecosystem populated by indigenous lifeforms and environmental cycles that proceed regardless of the player's actions. The other is a more structured world, designed with progression systems where flora and fauna are categorized as resources or threats, often gated by crafting and advancement. This duality mirrors broader critiques of open-world design, where game worlds can feel like elaborate "amusement parks" that only activate for the player's benefit.
Nikhil Murthy, a writer and designer, has articulated concerns about this common open-world trope, where characters and events seem to exist solely for the protagonist's amusement. He argues that this design philosophy, where the player is the central figure whose presence dictates the world's activity, carries a narrative heritage rooted in colonial perspectives. This echoes historical colonial narratives, such as Rudyard Kipling's "Kim," which depicted colonized lands as mere backdrops for imperial power struggles.
Subnautica 2, however, appears to actively resist this convention. While it contains elements of a predictable, player-centric world, it also steers away from the violence commonly associated with open-world conquest. The game offers minimal means for offensive combat, focusing instead on tools for survival and self-defense. While players are encouraged to hunt for sustenance, the game discourages engaging with larger predators, framing the player as a pioneer rather than a dominator.
The narrative casts players as clones, repeatedly printed by an automated supervisor named "Noa" to investigate the disappearances of previous pioneers. This premise subverts the idea of a "blank tablet" protagonist, emphasizing helplessness rather than power. The player's cycle of rebirth signifies their expendability within the game's world, a stark contrast to the heroic archetypes often found in other titles.
The early access storyline places players between two opposing forces: the overseeing AI, Noa, and an indigenous, networked organism. Both entities seek control over the game's characters, with Noa managing its workforce through a cycle of euthanasia and reprinting, and the organic entity influencing inhabitants through mutations. These antagonists share thematic similarities, with Noa's base network even drawing parallels to cephalopod intelligence.
This narrative structure diverges significantly from the traditional heroic journeys seen in games like "The Legend of Zelda: Breath of the Wild." Instead of emerging as a destined hero, Subnautica 2's protagonists are symbols of transient labor. Despite these thematic intentions, the moment-to-moment gameplay often returns to familiar exploration and resource gathering loops, with creatures clearly delineated as either beneficial or hazardous. The world, outside of developer updates, primarily changes in response to player actions, reinforcing a sense of player-driven progression.
The absence of robust weaponry in Subnautica 2 has led some players to feel a sense of deprivation, as many open worlds are implicitly designed for exploration and eventual mastery. Restricting a player's ability to engage in combat can feel contrarian in this context, yet it aligns with a broader effort to present exotic, "unspoilt" worlds that often obscure the historical violence that enabled their perceived pristine state.
Murthy's ideas for postcolonial game design, which include distributing agency to non-player elements and allowing worlds to evolve independently of player intervention, resonate with Subnautica 2's current build. The game presents a complex narrative where the conflict between Noa and the alien organism is already underway by the player's arrival. Audiologs from other settlers reveal diverse perspectives on how to resist the AI and the potential for "solidarity" with the indigenous life. Abandoned bases and research facilities litter the seabed, serving as testaments to the failed attempts of others to navigate these challenges.
The ocean simulation itself is less player-centric than in the original Subnautica. Creatures interact with each other, with territorial species asserting dominance, lending the world a sense of independent life that extends beyond its relationship with the player. This dynamic ecosystem adds a layer of realism and complexity that transcends scripted encounters.
However, this liveliness remains carefully contained. While overfishing is possible, predators do not deplete entire biomes of essential resources. This balancing act, while perhaps justifiable by the player's limited time in the world, suggests that the developers must still adhere to certain genre expectations. Subnautica 2's world is designed not to be conquered, nor solely for player amusement, but it does, on some level, still await the player's influence.