Polyarc’s virtual reality puzzler Moss has been turning heads for all the right reasons.

For starters, its a game centered around an adorable swashbuckling mouse (how can’t you fall in love with that?), and it also happens to be a rich, engrossing virtual reality experience that avoids familiar pitfalls such as finicky controls and sickness-inducing scenes. 

The acclaimed title won over critics by deftly combining 1st and 3rd person gameplay to create a unique puzzle platforming experience that’s more engrossing than a game about a buccaneering marsupial has any right to be.

While it’s been pulling in the plaudits for a number of reasons, particular praise has been heaped upon the title’s clever use of three-dimensional sound alongside a captivating score, which both serve to drive the game’s narrative and imbue proceedings with a palpable sense of scale. 

Intrigued by how the Polyarc team achieved such a feat, we caught up with the studio’s audio director Stephen Hodde and the game’s composer Jason Graves to find out how they breathed life into the virtual world Moss calls home. 

Gamasutra: Did you have any expectations about how VR composition and audio would work before you started, and how did they stack up to the real thing? 

Stephen Hodde: I had an expectation that VR development was going to be vastly different from conventional games. And it is, to a degree, but it’s an additional layer of consideration, not a fundamental re-ordering of priorities. Whereas non-VR game audio is a mix between interactive and film conventions, VR sometimes requires audio to work more like hearing does in the real world. 

I’m curious to how the shift to VR affected your creative process? Did it force you to rethink or tweak your general approach? 

Stephen Hodde: Maybe it was just switching to a new medium, but there were fewer assumptions and foregone conclusions about “the right way to do things,” if that’s even real. I surveyed a handful of VR developers that I respect and there were a wide range of opinions regarding best practices, with no apparent consensus. So I adopted a mindset that I don’t know what the “right way” is, and that predisposed me to thinking about problems with the game’s needs and player experience over convention. I suppose this is not a uniquely VR state of mind.

Jason Graves: For me, Moss is actually the fourth VR game I’ve worked on. The first one in particular, Farlands, had a binaural mix for the entire score. That is, the music was composed and implemented into the game to sound 3D and spatial – coming from a set of points inside the VR world.

For this particular game, the fact that it was in VR didn’t have a whole lot of influence on the music. We all agreed from the beginning the music needed to have a more traditional role and not call too much attention to itself. The audio director, Stephen Hodde, and I worked hard to integrate the music as seamlessly as possible. We wanted it to feel like it was part of the story.

Moss isn’t a conventional VR effort in that it blends third and first-person gameplay. Was that something you had to consider when working on the score and audio? 

Stephen Hodde: Absolutely. This blend manifested in the choice of perspective and scale of the sounds. I found that the more I shifted the sound to reflect how Quill might experience it, the more I understood the stakes of the narrative and wanted to keep her safe from danger. Practically, this moved the scale of all sounds larger relative to their geometric size and they took on an emotional tone that reflected Quill’s emotional state along the journey.

Jason Graves: Most definitely. I loved the whole 1st/3rd player combination for Moss. That decision was made primarily so the player could feel a connection to Quill, Moss’ tiny mouse protagonist. It was important that she saw you as a character in the game and the music needed to emphasize that emotional connection.

 

“I adopted a mindset that I don’t know what the ‘right way’ is, and that predisposed me to thinking about problems with the game’s needs and player experience over convention.”

What was the biggest VR-related technical challenge you encountered during development?

Stephen Hodde: There is a lot of promising technology for audio that is designed to mimic hearing. Binaural rendering is perhaps the most widely talked about technology. It performs processing on sound to model how the head changes sound when it passes over your face and into your ear canal, which the brain interprets and produces more exact directionality. You’ve probably heard now of head-related transfer functions (HRTF) on a per-object basis, and some binaural technologies emulate Interaural Time Difference (ITD) or time of arrival delay between ears. Oculus, Sony, and Valve are all doing some truly amazing things in this arena. 

The challenge comes when attempting to use this technology as an effect, sparingly, and as transparently as possible. It’s not always easy using this technology side-by-side with more traditional methods of spatialization, from a user experience perspective.  

Moss is not a game that requires a lot of pinpoint accuracy when judging the origin location of a sound. However, it does require a lot of emotional, full, bright sound for its transportive effect. The processing required to make sounds more accurate (i.e. HRTF) and the pursuit of transparency are ideals totally at odds with each other. If there is some amount of real-time binaural processing to the audio signal that occurs, sometimes an essential quality of the sound is lost. So there’s a tension and a choice for each sound; how directional should it be versus how open and free of intervention. In this way, some of the old-fashioned spatialization methods are actually preferable to newer technology. 

What did you set out to achieve when you started out, and how did you know when you’d finally got there? Did the score/audio evolve much throughout the process? 

Stephen Hodde: The goal was to support the story, so we started out with a simple emotional arc that mapped to each section of the gameplay. In some instances the music helped inform emotional tone of the game, and so the team at Polyarc was listening to Jason’s work and responding to it by changing game content. There was a lot of effort to provide Jason with as much context as possible: screenshots, video captures, scripts, world building documents, concept art, and so on. 

We talked a lot at the beginning about balancing feelings of intimacy, that it’s simultaneously small and large feeling, and what that might sound like from an orchestration perspective. And then Jason just went with it. He’s such a pro and sort of a magic antenna of creativity, that he nailed it every time. If something didn’t fit like a glove, it could always be moved around to someplace else. In the end we used 100% of the music he wrote. 

“Finally getting there” was about monitoring our own reactions and getting feedback from the studio and players. For me this is mostly instinct-driven.

Jason Graves: My musical goal was the same as the developer’s goal — to make a game that would create an emotional bond between the player and Quill. The music was slightly different in the beginning but in general the scope and sound of the score remained the same.

 

“It’s really fun to feel like you’re on the front lines of a new medium, and it can be accompanied by a sense that there’s no clear way forward, which can be liberating.”

What tools and tech did you rely on? Did you have to bring some new toys into the studio to support your efforts in VR?

Stephen Hodde: We used Unreal Engine 4 and Wwise, along with Sony’s spatialization technology on PSVR. The mix you hear is predominantly 3^rd order ambisonic. 

One of my favorite sounds was Quill’s heartbeat when she’s injured, which I captured using a fetal doppler monitor. That classic sonogram heartbeat sound is an inherently empathy-and protection-inducing sound.  

Jason Graves: The score for Moss was implemented in a traditionally interactive way so there was nothing new in terms of technology composing for VR. But I was able to dust off some of my favorite instruments! Many of them I’ve had for some time, thinking someday I would get the chance to use them on a project. Ukulele, hammered dulcimer and Celtic harp all came out to play for the first time, along with my accordion, acoustic guitar and percussive toys. I had the idea to use instruments that were small in size and sound to relate to Quill, especially since you experience how tiny she is in VR — she really is mouse-sized compared to you!

When it comes to audio specifically, are there any distinct pros and cons to working within the realm of VR? And do you have any advice for other budding soundsmiths who might be looking to dip their toes into the virtual reality waters? 

Stephen Hodde: Don’t let VR intimidate you. The tools have come a long way and working in Unreal Engine is quite fun and easy. Your skills will absolutely translate over. Think of it like a new game, so approach it as you would any new project and ask what it needs. It’s really fun to feel like you’re on the front lines of a new medium, and it can be accompanied by a sense that there’s no clear way forward, which can be liberating. You’re not tied down to the choices of other games. 

Rumored for years but finally confirmed at E3 2017, Ubisoft’s space pirate opera Beyond Good & Evil 2 has long been atop gamer wish lists. And for good reason: the 2003 original was an instant cult classic, earning several Game of the Year awards on the strength of its incredible storytelling and memorable characters. Players patiently waited for news of its follow-up – Beyond Good & Evil was initially planned as a trilogy – but for well over a decade, a sequel existed only in the minds of passionate fans.

Based on a guided demo at E3 2018, however, we can confirm that Beyond Good & Evil 2 is not only real, it’s one of the most ambitious video games ever conceived. Directed by design guru Michel Ancel, the massive action-adventure gives players a virtual universe to explore, blending together several game genres to create something wholly new.

The game is set in System 3, a galaxy populated by humans and human-animal hybrids. Dominant megacorporations have a vested interest in using the hybrids as slave labor. As a pirate, your character chooses to fight back against this oppressive regime by tracking down a mysterious artifact called the Moksha Gate, which, according to legend, will help the hybrids attain freedom.

Starting out in the bustling Ganesha City on the planet Soma, the demo highlighted Beyond Good & Evil 2’s co-operative play (it can also be played solo) as two space pirates infiltrated a temple to stop a crew of evil mercenaries experimenting on a hybrid monkey. Every player will wield a gun, sword, shield, and jetpack to zip around the battlefield, using special abilities to slow down time, repulse, or outright paralyze opponents. Players can also use a spyglass to gather intel about enemy augments, class, and even their job proficiency. Need a mechanic to help repair your pirate spaceship? Use your spyglass to hunt for potential recruits.

A short battle later and our heroes had freed the hybrid monkey, hopped onto vehicles – a spaceship and a flying motorcycle – and zoomed away to explore the wide-open space of Ganesha City. The enormous metropolis is a vertical playground, buildings soaring to the sky as spaceships, hoverbikes, and jetpacking citizens go about their daily business.

We fly by some people painting a huge mural of Ganesh, but that art may change based on the community’s contributions. Through a partnership with Joseph Gordon-Levitt’s hitRecord crowdsourcing platform, Ubisoft will let players help build out the world by submitting art and music ideas.

As one character admired the mural, the other was off dogfighting with the local police. Players can customize every aspect of their ships, tinkering with gear, modules, cosmetics, cabins, wings, energy, weapons, decals and more. We quickly learned that the slick, nimble fighters were just appetizers, however, when the heroes flew up and out of Ganesha City entirely, breaking through its atmosphere to enter orbit and rendezvous with the player’s substantially larger pirate mothership.

Donning a spacesuit, one character exited his ship to float around in space. Scanning Soma with the spyglass at this distance yielded more generalized information about the planet’s resources and politics. Looking away from Ganesha City, we spotted a giant, mysterious geoglyph on a different continent. Zooming out further hammered home the sheer size of Soma – all of it explorable – but it gets even bigger. System 3 contains several planets, each with its own cities and glyphs and mountains and deserts.

And astoundingly, it’s all one seamless world. From the bowels of the temple to the outer reaches out of the galaxy, Beyond Good & Evil 2’s world is an unbroken, connected play space. We never saw a load screen during our demo.

Of course, incomprehensible size only matters if it contains meaning, and Ubisoft is slyly keeping Beyond Good & Evil 2’s more granular details under wraps. How do we recruit crewmembers? How much is there to do on each planet? What exactly happened to former protagonist Jade? How big is it, really? We’ll doubtlessly learn more about this enthralling, interstellar adventure in the coming months.

Data East fans rejoice because Flying Tiger is bringing yet another unmissable classic to Nintendo Switch – 1991’s Two Crude Dudes! It’s coming to the eShop next week on 5th July in North America, although retro fans in Europe will have to wait a little longer for a solid release date.

Know as Crude Buster in Japan, this spiritual apocalyptic sequel to Bad Dudes is equal parts beat-’em-up and grab-’em-up, with neither enemies or the environment safe from a good grapple. And if all else fails, just grab the other player and use him as a impromptu throwing weapon. If you were lucky you might have stumbled onto the excellent Sega Mega Drive conversion back in 1992.

This Johnny Turbo release will set you back $6.99. Will you be grabbing these dudes next week?

Whether you’re a fan of playing games on the big screen or someone who’s always loved playing handheld games on the go, the Switch can be there to satisfy your every need. We’re sure that you all have your own preferences when it comes to which mode you play in, but how does the Switch user community play in general?

Believe it or not, it’s pretty much 50-50. Speaking to Ars Technica, Nintendo Senior Vice President for Sales and Marketing Doug Bowser said that the split is “about even – about 50 percent in the dock and 50 percent away from the dock.” Of course, the Switch has always been marketed as a gaming console that can do both, and with this message seemingly being confirmed by players, it’s clear that Nintendo has developed a clear understanding of what fans want from the console. 

It’s worth noting that the undocked time Bowser refers to encompasses both handheld and tabletop modes, as Nintendo doesn’t currently monitor which of the two undocked options a player uses at any given time. 

He also went on to explain how this data has been collected, suggesting that the information Nintendo receives is invaluable to the company’s planning and marketing.

“One of the nice things we’ve seen with the Switch is we’re able to read more telemetry data in how players are engaging with the content. We get that when they connect, if they have a Nintendo account we have the ability to understand how they’re engaging with the device… From a positioning standpoint, we can look at various titles and how they’re being played. That allows us to think about various ways with digital marketing and some of our videos to know how to position them.”

Nintendo seems to have hit the nail on the proverbial head with Switch; if this data showed that players used their console overwhelmingly one way or the other, an argument could have been made suggesting that Nintendo should have just made a dedicated platform to that particular playstyle. As it happens, fans are using the console exactly as expected, and the dual playstyle nature seems to have worked a treat.

You know what we’re about to ask now – which way do you play? Docked, or portable? Let us know with a comment below.

The Awesome Adventures of Captain Spirit is Now Available on Steam!

Have you ever dreamt of being a superhero? Meet Chris, a creative and imaginative 9 year old boy who escapes reality with fantastical adventures as his alter ego, the Awesome Captain Spirit!

Captain Spirit is a free demo set in the Life is Strange universe. Contains links to Life is Strange 2

This week at Bungie, the factions are vying for your pledge.

After Expo Report

After months of anticipation behind the scenes, E3 has become a fond memory. Last week, we took some time to let the dust settle and come back to our senses. Looking back on the events of the show, we’re sincerely grateful for the warm reception we got in Los Angeles—and not just because of the sunshine. It’s always a rush when millions of people find out what we’ve been working on. It’s even better when they get to play for themselves. Here are some thoughts from our Away Team of official spokespersons who were on hand to answer questions on behalf of everyone who is working to bring Forsaken to life.

Matt Tieger, Game Director, High Moon Studios

After so many months of hard work, E3 is a glorious mix of relief and terror. The death of Cayde is a huge moment in the Destiny universe, and revealing that to the world was nerve-racking. I get a sense that the community is incredibly motivated to explore the Tangled Shore and avenge the death of their friend. As a game developer, what more could you ask for?

Steve Cotton, Game Director, Bungie

I think it’s fair to say that everyone on the team was both incredibly excited and a little bit anxious to reveal to the world how our Forsaken story begins. So, it was amazing for us to see the response right after. Between the questions of why and how, one thing was clear—there was going to be consequence in this world of immortal heroes, and this was going to sting. To see how quickly Uldren was elevated to every Guardian’s most hated enemy and how everyone’s plans for revenge solidified almost instantly was inspiring. Some people at the show got to play some of the first mission of the game, and we talked to them after. There were strong feelings while they played, but their plans to exact revenge only got more creative… more personal. In the end, the show was an incredible journey of conflicting emotions and now I am left with an uneasiness every time I visit the tower. Cayde is right there and I just want to warn him.  

Scott Taylor, Project Lead, Bungie

It was incredible to share Forsaken with the fans and let them get their hands on Gambit. The teams at Bungie and HMS have been developing Forsaken with the goal of reinforcing the hobby, and the reaction we got at E3 meant so much to all of us. There’s a lot more to reveal this summer, including details on Collections, Triumphs, and the major sandbox changes we’ve got planned. Everyone is working hard to put the finishing touches on the experience. Closing is one of my favorite phases of any project, and it’s a blast to see the game grow and evolve every day. We can’t wait to play it with all of you. 

Lars Bakken, Design Lead, Bungie

So, at E3, we lifted the lid on [REDACTED], finally unveiling Gambit to the world. I cannot express how overwhelmed we were by the positive sentiment around our new activity. Special thanks to all the people who stood in line—you are the true heroes. If you didn’t know, GuardianCon is the next stop on the hype train to play Gambit before September. Remember to keep a look out for those invaders!

Lars said it. E3 was only the start of a new conversation about Destiny. Next stop: Tampa, Florida. We’re packing our bags for some gator wrestling and more Gambit action. Next week, we’ll share the full Away Team active roster along with what we have planned for our time on the GuardianCon mainstage.

Following that, we’ll tell you more about the other stops we have planned for this summer…

Marking Your Calendar

If you reside in the northern hemisphere, summer has officially begun. This one in particular is full of seasonal events. We’ve gotten some feedback from players asking for a bit more of a heads up before things like Faction Rallies or Iron Banner go live. To address this, we’ve cooked up the following image to set expectations for the next few weeks:

We also have an update for the development roadmap planned for early July. Stay tuned.

An Early Preview…

The Crucible team has been hard at work over the last few months, digesting player feedback and tuning the experience. Normally we’d have a Crucible representative jump in to give some commentary on goals, but they’re currently all hands on deck working on the future of the Crucible. Here’s a quick Patch Notes preview for what you can expect to become available when Update 1.2.3 is released on July 17, 2018:

Crucible Playlist Update

Crucible Ranks Update

There are many more changes to Destiny 2 coming in July, and we’ll be giving a few more Patch Notes previews leading up to release, providing developer insights and commentary when possible.

Prestigious Affairs

Hey everybody,

In Destiny 2 Update 1.2.3, we will be launching Prestige versions of both Spire of Stars and Eater of Worlds raid lairs. Prestige raid lairs use new activity modifiers and a new system of curated loadouts to challenge you in new and exciting ways each week. I wanted to give a quick rundown of what you can expect to get, what you can expect to do, and answer some questions you might have.

What You Get

We believe players will be chasing after three different pursuits in the summer Prestige raid lairs.  

• 400 Power Weapons: The only way to get 400 Power armor before Forsaken is by participating in the Summer Solstice event, but the only way to get 400 Power weapons before Forsaken is by completing Prestige Spire of Stars and Eater of Worlds. Every time you complete all the encounters in a Prestige raid lair that week, you will be rewarded a 400 Power raid weapon. This can be any raid weapon from Destiny 2, not just the weapons that drop in that raid lair. 
• Raid Armor Ornaments: Each Prestige raid lair has its own set of unique armor ornaments. 
• Exotic Masterwork Catalyst:  Both raid lairs have a Masterwork catalyst that can be found only as a rare drop in the activity.   

What You Do

Each week, there is a curated weapon suite and a global activity modifier for Spire of Stars and Eater of Worlds. The weapon set and modifier will be the same across both activities.

• Curated weapon loadouts are based on weapon archetypes. So over the summer, you might see combinations that require you to equip Auto Rifle/Submachine Gun/Sniper Rifle or Scout Rifle/Hand Cannon/Rocket Launchers
• Loadouts are not locked inside the Prestige raid lair. You can bring tons of different guns into a raid lair and swap between them at will as long as the gun meets the required curation. For example, if you were doing Spire of Stars and the loadout is [Auto Rifle/Submachine Gun/Sniper Rifle], you might want to use Surous Regime for Val Ca’uor Phase 1, but swap to Ghost Primus for Val Ca’uor Phase 2 so you can equip D.A.R.C.I. for boss damage.
• We are shipping three activity modifiers that the raid lairs rotate between. Two of these modifies are brand new and were built from the ground up by the raid team to work in raids. The third is a fan favorite from Destiny 2: Prism. 
• Each of these modifiers is designed to provide Guardians with advantages over their enemies when they lean into it.
• The goal of using these modifiers and loadouts is to change the way you engage with Prestige raiding each week. The first week, the modifier and weapon loadout might synergize really well with strategies and armor exotics you’ve been using for months. Next week, the modifier and weapon loadout might push you to explore the encounter in a different way and use different exotic armors (looking at you Lunafaction). 

Questions you might have:

Is anything happening to the Prestige version of the Leviathan raid?

Nope! Prestige Leviathan will stay exactly as is, this weapon curation and modifier will only apply to Eater of Worlds and Spire of Stars—but in 1.2.3, it might be worth going back and playing some more Leviathan Prestige to see if Callus has a new way to enhance one of your favorite exotic Shotguns. 

Are Prestige raid lairs getting per-encounter changes?

Nope! When we originally created the raid lairs, we wanted to focus on making the normal modes of encounters the most complete forms of the experience. We believe these modifiers and loadouts will create more variety in your Prestige gameplay than small, per-encounter changes. We also believe that the mechanical complexity in Destiny 2 raid lairs is very high, and we want to lean more into the moment-to-moment sandbox engagement in Prestige. 

How many of the Prestige raid activities will be active each week?

All of them! Do you want to play all three prestige raid activities each week on three different classes for maximum Exotic catalyst and 400 Power weapon farming potential? GO FOR IT!

When will the Prestige raid lairs become available?

Current plan is for both Prestige raid lairs to be active with modifiers right when the patch goes live. We feel like this is in line with Prestige being a new way to play each week instead of a one-time event, but we are open to feedback on this.

Costs and Collections

The Destiny 2: Forsaken reveal brought a lot to the table on what’s coming in September, but there are many questions surrounding new features that we’ll be tackling leading up to launch. This week, we’re hitting a few of the most frequently asked questions about the upcoming Collections feature. Investment Designer Matt McConnell is here to bring the knowledge.

What items from Year 1 inventory will Collections track?

Collections include any weapon, armor piece, Ghost, ship, Sparrow, emblem, or shader available in Year 1 of Destiny 2.

Is there anything I can dismantle before Forsaken launches?

If you have an item in your inventory right now, you can safely discard it and retrieve it from Collections in September. This does not include consumables, so hang on to those if they matter to you.

If I dismantled something previously, will it be waiting in my Collections this September?

Your Collection will begin with every piece of gear that you were holding in inventory or within your vault upon the launch of Warmind. If you had dismantled an item prior to May 8, it will not be available within your Collections.

What items from Year 2 can be reacquired from Collections?

With the addition of random perk rolls to items starting in Year 2, we had to make a tough call for Collections. We investigated numerous options for gear with random perks: fixed Collections perks, buyback limits, reroll mechanics, and many others—but each of these came with issues that impacted the Collections experience in a negative manner. Ultimately, we decided to disable purchase of all Year 2 randomly-rolled Legendary weapons and armor. 

We don’t like keeping some items from experiencing the full Collections treatment, so we’re looking at a long-term solve for storing your exact perk rolls in Collections. 

How much will it cost to reacquire items out of Collections?

We’re currently working on costs for item acquisition and will have more information at a later date.

We have two main goals when deciding on reacquisition costs:

• Reacquisition isn’t a currency sink. We aren’t trying to make you spend all of your hard-earned Glimmer. We just want to make sure the items you find out in the world still have value.
• Players won’t have to deal with currency conversions. For example, if a shader dismantles into Glimmer, it costs Glimmer to reacquire. If the shader came from Eververse, it will dismantle into Bright Dust, and therefore costs Bright Dust to reacquire. These same goals are true of all Collection items.

Note: A lot of you have been asking about the cost of shaders. We can say that they will have a cost to reacquire from Collections, but there will no longer be a cost to apply shaders to gear.

Here’s a quick example: Let’s say you just got that sweet Calus’s Treasured shader to drop from the raid. You’re able to apply it immediately at no cost. If you want that specific shader on all your armor, weapons, Ghost, ship, and Sparrow, you’ll need to pay some Glimmer to reacquire a handful of copies straight out of Collections.

Before we move along—purple and gold looks fantastic on the upcoming Tangled Shore Warlock armor set. You heard it here first.

When reacquiring gear from Collection, what Power level will they be?

Collection items will come out close to your current Power level, but will require infusion to be ready for endgame activities.  This is a delicate balance of making sure Collections don’t create a leveling exploit, but still providing items that are usable right away in most activities.

If there are things you’re eager to know more about, leave a post in the Destiny 2 forum of Bungie.net, or sound off on social media. We’ll be watching for trending topics, and working to get you up to speed before Forsaken launches.

Iron Resolve

Each day, Destiny Player Support patrols the #Help forum to assist Guardians in need. Whether it be an error code caused by connection issues or an item not appearing properly in game—they’re here to lend a helping hand. 

This is their report.

Lupus Visage

Last week, we reported an issue where the Lupus Visage ornament for Fighting Lion, featured in the Iron Ornament Bundle, did not properly unlock for some players after it was activated. With this week’s deployment of Destiny 2 Hotfix 1.2.1.2, this issue is expected to be resolved for all players.

Players who previously purchased this ornament should now find it when inspecting Fighting Lion. Players who purchase this bundle in the future will find this ornament in their modifications inventory.

Permissions

Over the past several months, we have monitored reports from players in Russia who repeatedly encountered the error “Permissions to access online multiplayer have changed or profile signed in elsewhere.” While it’s still possible for players to encounter this error through natural causes, we believe the platform issues that caused the elevated number of these errors to be resolved.

For players who see this error in the wild, we suggest that you visit our Help article for troubleshooting information. As always, players who encounter repeated errors codes and do not find resolution by searching help.Bungie.net should report the error to the #Help forums.

Faction Rallies Known Issues

With the launch of this week’s Faction Rallies, we have players reporting that they’ve kept their allegiance from the last Faction Rallies, even after pledging to a different faction for this one.

While Destiny Player Support is currently investigating this issue, any player encountering issues while pledging to factions should submit a report to the #Help forums. If possible, providing captured video footage or imagery of your issue as it is encountered in game will be helpful in our investigation.

No Intermission 

Running out of medals isn’t a requirement to take the crown in Movie of the Week. In anticipation for Prestige raid lairs, we took some time to find a six-player fireteam that has perfected the art of DPS. 

Movie of the Week: Flawless Raiders

Honorable Mention: Called Their Shot

Oh, and before I leave, join me in giving a shout out to the following Fireteams who earned the top three Nightfall scores last week!

Cheers,

Dmg04

Click Here!