Gameplay changes

- Limited the duration of the "wand souls" projectiles.
- Prevents multi-hit weapons from hitting the dragon boss multiple times.
- Balances trolls: reduced projectile speed, no more shooting if the player moves too far away.
- Reduces the number of fire bats in the black castle.
- Decreased the ascension speed of the fire bats.
- Modified the level design of ice mountain to make it more suitable for local multiplayer.
- Added a sprite for the gargoyle's charge and decreased the collision height.

Bug Fixes

- Fixed a bug that occurred during an endgame if the client was invited via the steam overlay.
- Fixed a bug in the client/server synchronization of chests.
- Fixed an instance handling bug that did not exist in online multiplayer.

Ok--the mouse should hide properly now and cause no performance issues.

- Added options to choose to reset the player and pets position when loading a game
- Removed "random" colliders sometimes present in the level
- Major fixed to syringes
- Added alternative system to shaving if shader cant count shaved area
- More fixes to medical tray
- Fixed animals that sometimes get stuck in front of van
- Fixes to animal brushing (that where too quick)
- Fixed occasional reputation refreshing issue
- Fixed closing save/load & options in main menu with escape button
- Updated build mode toggle icons
- Updated animal computer panel so that texts do not overlap
- Removed colliders from birds
- Small translation corrections
- Modified Help button to better indicate it's function

Known Issues:
- For some people brushing cats might be to fast or to slow, we are still investigating

We've just announced when you can play the UNBEATABLE X NO STRAIGHT ROADS collab… and it's today! Included in the latest update for UNBEATABLE [white label]: PATCH V1.0.8, you can play One Eye Closed's Low, the ending theme of NO STRAIGHT ROADS! A new stage inspired by NSR's "Vinyl City'' is featured alongside the song.

This marks the first new song added to [white label] since May! In addition, both the song and special stage for this crossover will be available in the final version of UNBEATABLE as part of the game’s base tracklist.

That's not all! We're happy to reveal that several quality-of-life features, including the highly-requested custom keybinding support, are included with this latest patch! Freely customize the game's controls to your heart's content.

• [UNBEATABLE X NSR] A brand new level is here! Bash enemies in NSR's Vinyl City to the tune of the fan-favorite track Low from One Eye Closed. Available in difficulties from Beginner-UNBEATABLE.
  
• [QOL] The long-awaited custom keybinding support is finally in action*, available to configure as you please in the OPTIONS menu!
  
• [QOL] You are now able to configure window settings to windowed, borderless, or exclusive fullscreen!
  
• [QOL] Controller prompts will now properly change to your adjusted bindings Controller prompts will now properly show your adjusted bindings/presets. (works for KB+M or controllers of varying kinds, which apparently includes the OUYA Controller. You’re welcome?)
  
  
• [QOL] When selecting the hitsounds in options, you'll hear a preview of the sound upon selecting it.
  
• [SIDE A TRACK 1] Improved clarity on controller prompts during the Proper Rhythm tutorial.
  
• [RHYTHM] STAR-DIFFICULTY beatmaps have been added for the NOISZ crossover songs, Done In Love (OVERLOAD) and True (OVERLOAD)!
  
• [RHYTHM] Adjustments have been made to True on Hard and UNBEATABLE difficulty to improve flow and timing.
  
• [RHYTHM] Our invisible notes rework from PATCH V1.0.6's Beta is now rolled over into the full version of the game!
  
• [RHYTHM] Minor adjustments have been made to make Forever Now  -  DOG_NOISE Remix less frustrating on UNBEATABLE.
  
• [RHYTHM] An issue where inputs are dropping against consecutive mash notes has been fixed.
  
• [RHYTHM] Input latency has been slightly reduced across the board.
  
• [RHYTHM] Fixed the song names in the results screen cutting off if the name is too long.
  
• [RHYTHM] When unpausing during a rhythm level, the game will lock until pressing a attack button, allowing you to get your bearings before continuing!
  
• [MISC.] Fixed an issue where a controller preset (specifically the 4th selectable one) displays the wrong buttons in the UI.
  
• [MISC.] Added a new, RESPECTful keyboard rhythm preset.
  
• [MISC.] Fixed an issue where the game still detects inputs even when unfocused from the window.

* Keybind support currently only supports KB+M controls. Custom controller keybinds will be added in a future update. For now, we recommend changing bindings for the controller via presets or through Steam's Controller settings.


In case you missed it, the first "ephemeral event" for NOISZ STΔRLIVHT launches on April 9th  -  featuring a crossover with us! This includes a brand new style to unlock for the character Hakuno, new character artwork by our game's director, Andrew, and Peak Divide's MIRROR as a playable song in the game (via the Club Pass)! This is a limited time event - so if you're interested, now's the time to give Anarch Entertainment's take on rhythm-bullet hell action a try. It's free!

This ties in with [white label] V1.0.8 bringing the finishing touches to our side of the crossover: brand new STAR-Difficulty beatmaps for both Done In Love and True!


We have a full update detailing our MAGFest post-mortem and a progress update on the main game here!

We hope you all enjoy the latest patch for [white label]! Have a good weekend!
<3 FROM D-CELL GAMES

- Changed the tree texture
- Made some quest skippable
- Minor fixes to the battle system
- Fixed some bugs

-Re-did keyboard controls.

** Vitalife secret lab **

* A new mechanic called Augmentation Grafting has been added. Resleeving has been removed.
* Credit to @nickofolas for his incredible work.

** Stanek **

* BREAKING: Many functions in the stanek API were renamed in order to avoid name collision with things like Map.prototype.get

** UI **

* Major update to Sleeve, Gang UI, and Create Program (@nickofolas)
* re-add pre tags to support slash n in prompt (@jacktose)
* Tabelize linked output of 'ls' (@Master-Guy)
* Add the ability to filter open scripts (@phyzical)
* Add minHeight to editor tabs (@nickofolas)
* Properly expand gang equipment cards to fill entire screen (@nickofolas)
* Add shortcut to Faction augmentations page from FactionsRoot (@nickofolas)
* Fix extra space on editor tabs (@nickofolas)
* Present offline message as list (@DSteve595)
* add box showing remaining augments per faction (@jjayeon)
* Add tab switching support to vim mode (@JParisFerrer)
* Show current task on gang management screen (@zeddrak)
* Fix for ui of gang members current task when set via api (@phyzical)
* Don't hide irrelevant materials if their stock is not empty and hide irrelevant divisions from Export (@SagePtr)
* Fix regex to enable alpha transparency hex codes (8 digits) (@surdaft)

** API **

* Added dark web functions to ns api
* BREAKING: purchaseTor() should returns true if player already has Tor. (@DavidGrinberg, @waffleattack)
* Implement getBonusTime in Corporation API (@t-wolfeadam)
* Added functions to purchase TIX and WSI (@incubusnb)
* purchaseSleeveAug checks shock value (@incubusnb)
* Fix bug with hacknet api
* Fix spendHashes bug
* Added 0 cost of asleep() (@Master-Guy)
* Fix some misleading corporation errors (@TheRealMaxion)
* expose the inBladeburner on the player object (@phyzical)
* added ram charge for stanek width and height (@phyzical)
* Fix sufficient player money check to buy back shares. (@ChrissiQ)
* Fix Static Ram Circumventing for some NS functions (@CrafterKolyan)
* added CorporationSoftCap to NetscriptDefinitions (@phyzical)
* Added definition of autocomplete() 'data' argument. (@tigercat2000)
* Adding support for text/select options in Prompt command (@PhilipArmstead)
* Added the ability to exportGame via api (@phyzical)

** Arcade **

* Added an arcade to New Tokyo where you can play a 4 year old version of bitburner.

** Misc. **

* Add a warning triggered while auto-saves are off. (@MartinFournier)
* Log info for field analysis now displays actual rank gained. (@ApamNapat)
* Removed BladeburnerSkillCost from skill point cost description. (@ApamNapat)
* Fix handling for UpArrow in bladeburner console. (@dowinter)
* Add GitHub action to check PRs for generated files. (@MartinFournier)
* Cap Staneks gift at 25x25 to prevent crashes. (@waffleattack)
* Remove old & unused files from repository. (@MartinFournier)
* Factions on the factions screens are sorted by story progress / type. (@phyzical)
* Fix log manager not picking up new runs of scripts. (@phyzical)
* Added prettier to cicd.
* UI improvements (@phyzical)
* Documentation / Typos (@nanogyth, @Master-Guy, @incubusnb, @ApamNapat, @phyzical, @SagePtr)
* Give player code a copy of Division.upgrades instead of the live object (@Ornedan)
* Fix bug with small town achievement.
* Fix bug with purchaseSleeveAug (@phyzical)
* Check before unlocking corp upgrade (@gianfun)
* General codebase improvements. (@phyzical, @Master-Guy, @ApamNapat)
* Waiting on promises in NS1 no longer freezes the script. (@Master-Guy)
* Fix bug with missing ramcost for tFormat (@TheMas3212)
* Fix crash with new prompt
* Quick fix to prevent division by 0 in terminal (@Master-Guy)
* removed ip references (@phyzical, @Master-Guy)
* Terminal now supports 'ls -l'
* Fix negative number formatting (@Master-Guy)
* Fix unique ip generation (@InDieTasten)
* remove terminal command theme from docs (@phyzical)
* Fix 'Augmentations Left' with gang factions (@nickofolas)
* Attempt to fix 'bladeburner.process()' early routing issue (@MartinFournier)
* work in progress augment fix (@phyzical)
* Fixes missing space in Smart Supply (@TheRealMaxion)
* Change license to Apache 2 with Commons Clause
* updated regex sanitization (@mbrannen)
* Sleeve fix for when faction isnt found (@phyzical)
* Fix editor "close" naming (@phyzical)
* Fix bug with sleeves where some factions would be listed as workable. (@phyzical)
* Fix research tree of product industries post-prestige (@pd)
* Added a check for exisiting industry type before expanding (@phyzical)
* fix hackAnalyzeThreads returning infinity (@chrisrabe)
* Make growthAnalyze more accurate (@dwRchyngqxs)
* Add 'Zoom -> Reset Zoom' command to Steam (@smolgumball)
* Add hasOwnProperty check to GetServer (@SagePtr)
* Speed up employee productivity calculation (@pd)
* Field Work and Security Work benefit from 'share' (@SagePtr)
* Nerf noodle bar.

Whether we are talking about Glitchhikers: First Drive (2014), or Glitchhikers: The Spaces Between, one thing is certain—the Glitchhikers Experience cannot be separated from the strange and unforgettable in-game music. Fans old and new will invariably point to the original soundtrack as the siren song that drew them into the world, made them comfortable to sink into the surreality, and brings them back time after time.

When we sat down to make The Spaces Between we knew that building upon the 6 song First Drive OST was going to present an exciting challenge. The Glitchhikers sound is so particular yet so difficult to nail down. It is in many ways an amalgamation of mangled pieces of several genres, held together by a membrane of synth-laden loops. Each one is more than the sum of its parts, like musical mosaics constructing a full picture out of shattered fragments of songs.



To give you a deeper look into our journey recreating and reimagining this alchemic magic, we went directly to the source -- Devin Vibert, Silverstring’s Musical Lead and composer of the songs of both First Drive and The Spaces Between.

Can you tell us what makes a Glitchhikers song? What are you hoping for when you sit down to create one?

The music in Glitchhikers and Glitchhikers: The Spaces Between is meant to be a little weird, a little broken, and at times a little beautiful. A lot of the music is very ephemeral; songs will drift between (or use simultaneously) seemingly disparate styles or moods. This is much like some of the interactions a player will have: a strange hiker has an interesting and often meandering conversation with them, before they disappear into the night or the player moves on.

Above all else, the music is meant to be meditative—like many of the other design aspects of the game, it’s meant to leave space for the player to have whatever experience they’re prepared to have. That said, I very much wanted to (at risk of using a hackneyed term) play with liminality in the music, and so a lot of the songs are built from these weird bits of musical flotsam and jetsam.

Did you pull this concept from the ether or were you drawing inspiration from something? Did you have any guiding stars?

Both [Claris Cyarron, Creative Director and Collaborating Composer] and I have looked to The Disintegration Loops as a source of inspiration for this type of “audio-destruction-turned-pretty” aesthetic, and you can hear it all over the place. A song might, for example, start with a badly distorted loop ripped from an earlier version of a different song stuck with a melody made by a malfunctioning synth patch that drifts into a reverb-soaked piano and an acoustic guitar part that has been so badly time-stretched that it’s riddled with audio artefacts. There were some other songs and artists that have inspired the music of The Spaces Between, and I have put together a playlist of sorts on YouTube highlighting the, er, most telling ones.

Is there a particular connecting thread to these songs that you are most drawn to? What gives something the spirit of a Glitchhikers song across genres or structural differences?

A lot of the best (imho) parts of the soundtrack are those songs where several seemingly busted pieces of audio are smashed together to create something actually musically coherent; I leaned hard into a lot of lo-fi sounds. Sometimes I intentionally time-stretched audio using the wrong algorithms and then would challenge myself to make it sound cool and interesting. If I was having trouble with a song, I’d cannibalize an unused (or already-used, I didn’t mind!) section from another track and process it to the point where it was barely recognizable, and use it to blow the creative block wide-open. Some melodies are completely improvised and were recorded in a single take and never altered.

The Spaces Between was a much larger undertaking than the shorter, tighter experience of First Drive. To compare, First Drive had one journey mode and 6 songs total, while The Spaces Between has four main modes and a whopping 5-Volume, 71 track Deluxe OST.

Could you give us some insight into your process for each journey, starting with The Highway (the most similar mode to First Drive)?

We wanted to cleave pretty closely to what we did in OG Glitchhikers, which was for the music to be a little unsettling and broken, but for it to still manage to be somewhat chill and meditative—a tricky line to walk. The music also needed to stay out of the way of the conversations the player would be having, so early on it was decided that these songs would be light on lyrical content and should be able to play in the background without being particularly disruptive. We did want to expand the repertoire of the Drive music a bit, adding elements of jazz, lo-fi, and lounge whilst still hanging on to the chopped-up-and-shuffled audio aesthetic that made it what it was in the OG.

The Path mode (where players are free to walk through many winding paths of a park with music being delivered using a “Glitchpod”) is a pretty different thematic and mechanical experience to The Highway. How did that influence your approach?

The Path necessitated a different approach to composition—you’re listening to songs between segments of a podcast, and so the music is the sole focus of the audio experience (unless you turn your GlitchPod off, which I recommend everyone do on occasion because silence is also nice, and I find the ambience of the Path very soothing!). For the reasons above, and because the Path is decidedly a more active experience than the Highway, we wanted the music to be more upbeat, convey a stronger sense of wonder and intrigue, focus on nature/the living world, and to generally inhabit “the present”. Thus, many of the songs for the Path journey have lyrics, stronger melodies, a faster tempo, and very generally use a lot more transients (“fast” sounds like a clap or plucked strings) when compared to songs for the Highway.

The Railway is a journey that we've described as more communal and warm. It has the most in common with The Highway in many respects, but musically is probably one of the bigger departures from First Drive. Tell me about your thought process for that?

Pretty much by default, the Railway journey was going to require an atypical approach to the music. Trains don’t normally blare radio music throughout, but without any music it would feel a bit empty. Almost right from the start of development we were into the idea of a busker lightly playing music in each train car, but we wanted to ensure this didn’t get grating to the listener after a little while. From this blossomed the idea that in each car, the busker would be playing different instruments, and different parts of the same song. Since the sound bleeds through from adjacent cars, you’d hear multiple copies of the busker harmonizing or playing along with each other in a disjointed, multiple-train-car jam session.

The intent was for the railway to be a safer and more comfortable space than with the other journeys, so it was decided that the music would have a warmer, more organic feel than the other journeys. There are virtually no synths, (though in-game the busker technically is using a synthesizer to play string and brass samples sometimes), and most of the instrumentation should feel pretty familiar to most folks—guitar, drums, bass, piano, strings, brass, nothing too crazy. (I did use an aluphone a bunch too, but shhhh)

You've spoken before about The Terminal mode as being the one with the most control, both in terms of absolute freedom for players to explore the environment, and in terms of musical control. In some ways it is the least First Drive-like mode, and yet it takes the spirit of musical experimentation and the stitching together of disparate and broken sounds to its extreme. How would you explain it?

The music in the Terminal is this ethereal, looping vapourwave behemoth that slowly morphs, adding and removing parts and instruments depending not just where in the space the player travels, but how they do it as well. Effectively Claris and I wanted to have the entire Terminal function as a giant, bespoke player-controlled synthesizer, where their actions (and a few procedural things) could affect the sound just as someone might twist a filter knob or punch in a loop. The hope was that folks would find enjoyment just in playing around with these sounds as they also played around in the space. The Hikers we encounter in the Terminal also act as mini-synths: each one emits looping melodies unique to their personality that can change depending on a variety of different player actions/choices.


With that, we decided to wrap the interview and leave more musical mysteries and surprises for players to uncover for themselves when Glitchhikers: The Spaces Between drops March 31st for PC, Mac and Nintendo Switch (you can find information on available platforms on the newly redesigned http://www.glitchhikers.com). The 22-track OST and the 5-volume Deluxe Soundtrack that contains all 71 in-game songs will also be available from Day 1 as part of bundles, with more outlets TBA. Until then, you can find the three singles that have been released on Devin’s Bandcamp, with official Music Videos available on Silverstring Media’s YouTube.

Hi Prospectors,

Patch 2.2 is here and it will bring the following fixes and adjustments!

We aim to have the maintenance at 10 AM CEST / 7 PM AEDT / 4 AM EDT on the 30th of March. Please remember the ingame announcements are currently not working, you will lose your gear if you are on the planet when the maintenance starts!

• Faction campaign missions got adjusted to be less grindy
• Material selling price increased to make looting more fun
• Hard Drive price increased
• End game activities are more rewarding due to increased selling prices
• Delivery and Dead Drops reward increased
• Crafting recipes for armors, backpacks, and helmets have been adjusted
• Fixed flashlight flickering and improved performance
• Rebalanced lighting, improving visibility in dark areas
• Additional audio improvements

• C32 Bolt Action: Magazine size reduced from 8 to 4
• KM-9 Scrapper: Magazine size reduced from 18 to 17
• AR-55 Autorifle: Refire time reduced from 0.13 to 0.11 Damage increased from 12 to 13
• Manticore: Damage increased from 11 to 13
• Lacerator: Base damage increased from 25 to 27
• Phasic Lancer: Base damage increased from 11 to 13
• PKR Maelstrom: Base damage increased from 7 to 8
• KBR Longshot: Base damage increased from 35 to 39
• Advocate: Base damage increased from 8 to 10
• ASP Flechette Gun: Base damage increased from 11 to 12
• Gorgon: Shots per burst reduced from 15 to 12. Ammo per shot increased from 0.4 to 0.5. Magazine size reduced from 30 to 24.
• KOR-47: Base damage increased from 12 to 15
• Hammer: Base damage increased from 26 to 31
• Voltaic Brute: Base damage increased from 10 to 12
• Basilisk: Base damage increased from 34 to 40

• Damage amplification and reduction of shields has been adjusted to make shields feel more meaningful
As an example - grey weapon vs purple armor - damage gets reduced by 43% (Before CB2.2 it was 34%)

• UI Marker on tutorial quests has been fixed
• Additional adjustments to level streaming. This will increase the download size (~ 15GB more) but should boost the performance
• The player report window in the battlelog has been fixed and now fills needed data automatically
• Fixed some smaller issues with jobs and campaigns

• Data in the battlelog can sometimes show misleading data

We will continue to work hard on additional improvements. Thank you for your feedback and your suggestions for the game.
Remember Prospectors "Fortuna favors the bold"

Hello, Bravelanders!

Spring has come, and so new event. But in Braveland’s territory is still cold. However, there is no time to freeze since you have so many tasks to complete. And whoever works hard will receive a worthy reward. Get started!

The king announces the tournament. Anyone who wins duels with the Pirates faction units will receive a chance to get the famous Snowy Goblin into his army!

Hop into the game and complete this new event. It will only last a few days, so hurry up. Have a good game!