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Our exclusive interview with the man behind Moon Rift: Sam Hutcher.
by Abdul Rob
Recently we were able to talk to the one man development team behind upcoming scifi indie platform shooter - Moon Rift. We took the time to ask him about the game as well his background as a  gamer and with developing games, read below the cut for the full interview.
Iâm interested to know why you chose to develop with Unity 3D and how it was like (strengths and shortcomings) using it for this project.
Well Unity was a pretty obvious choice for me for multiple reasons, itâs streamlined and very easy to develop in, you can have a small prototype up and running in a day or so. Unity was also the most accessible when it came to cross platform development. Its biggest draw for me however was the fact that itâs free to develop with! Unity isnât with out its shortcomings though, especially getting a massive 3d engine to work with a 2D game. I ended up writing my own physics as well as an animation system and editor. This has all seemed to pay off though as the further I get along the easier it is for me to implement new features.
Is the Unity3D engine something youâll continue to work with in the future?
Most likely, Iâve spent so much time learning how the engine works and finding so many work arounds and âcheatsâ that Iâm pretty comfortable with it. At this point It would take a huge amount of time to learn another engine or to start from scratch.
What made you choose to do this as a solo project?
Well going solo wasnât that much of a choice. The last few years Iâve been working in retail and making games on the side. This didnât really leave that much time or energy to actually finish anything. I decided to go full time on moon rift a little less than a year ago and emailing someone with âHey wanna make a game, Iâm kinda good but you just have to trust me!â Didnât really seem like an option.
Now that the gameâs public I get around 2 or 3 offers a day from people wanting to work on this small 6k project! I feel bad but at this point I canât really even keep track of them all. Working on this alone certainly has some draw backs, I canât spread out the work load and being responsible for every single aspect is a huge amount of work. At the same time I find myself pretty proud to be doing this solo, itâs nice to have complete control over the schedule and features in the game. One of the huge draws of going to kickstarter, besides funding, was actually to get a great collaboration of creative input, things that I might miss as a solo developer
The game is certainly impressive as a solo effort, for future titles would you still prefer to work solo or with a team?
Thanks! Iâm pretty open to the idea of a team development, I think it would be a good experience for me. A future project seems so far away to me at this point that i really canât say for sure.
How was doing the graphic assets and sound for the game? was it something you were already familiar with before you began this project or something you learnt along the way?
Making the graphics for the game has been one of the most fun aspects. I started spriting back when I started making my first games, not just because I wanted to, but because 2D was the only medium available to a kid who didnât know how to program. Now that Iâve been spending so much time prototyping different games itâs been a thrill to go back to it. The sound on the other hand is something Iâm mostly learning as I go. Itâs a little odd, while the purpose of the art is to make the game stand out, my idea behind the sound is to make sure it blends in. What I been by that is if you do it right and splice and tweak the sound correctly no ones going to notice it, if you do it wrong, they usually will.
Can you tell us more about the process behind making the sound/music and art/graphic assets for the game, such as how you went about it as well as what inspired it.
For the art Iâm actually using two different styles, for most of the background I try to add as much detail as I can, every piece I put in I try to give it as much character as I possible. For instance the buildings have small cracks and posters, maybe a few splotches here and there stuff like that. For the characters and the objects they interact with with Iâm actually trying to keep it a bit more simple, using more solid colors. This helps every thing pop a little bit, as well as giving all the enemies a quirky feel. It also helps that that even though the gameplay and objects are 2D the actual game is rendered in 3D that gives the game a cool feeling. Iâm trying to mix new and retro with the music as well, even though it has a chiptune feel, Iâm not limiting it to strictly bit music so there will be synths and strings thrown in there as well. The idea behind all of it is that I really want there to be a sense of familiarity, but at the same time, have it feel new and exciting.
What method for recording did you use for the music - live instruments, DAWâs etc?
For the music everything is done electronically, either on my keyboard or with a piano keyboard plugged in. I used to mess around a lot in Apples Garage Band in high school, mostly because like a lot of teens, I was in a garage band ( we were terrible ). When I wasnât playing awful teen angst music, I was creating tunes pretty similar to what I have right now. At the moment Iâm still using a 6 year old mac book with Garage  Band to compose. Thereâs a small chance this might change on the funding since this really isnât looked at as professional at all. Honestly though, for this style, it more than gets the job done without wasting any ones money so Iâll probably stick with it.
What was the inspiration behind the game? for both the setting and the game play?
For the setting I really wanted a kind of fantasy feel. Probably my favorite game of all time was the old Legend of Zelda for the original Gameboy. I always loved the way they set the tone with visuals instead of lengthy back stories so thatâs a little bit of what Iâm trying to do. For the game play I really just wanted a âShoot everythingâ feel, several people have referenced Gunstar Heroes when describing it and I think thatâs a perfect example.
Will there be on going support for Moon Rift content? One of the things that was very apparent to me was how great it would work as a multi player game, would you consider adding that?
Iâve been spending the last week putting in local co-op :) I really donât expect the game to ship with online networking but adding local multi player in now makes networking a huge possibility in the future. As for support Iâll obviously keep up with bugs and tweaks, Iâm planning on adding new content but nothing is set in stone.
Is there anything youâd like to add or tell the readers about the game?
I donât have much but I wanât to stress that a lot of  whatâs been shown so far has been pre-alpha, even in the last few weeks a lot is changed (for the better).  Now that the game has been funded Iâm very excited to personally see itâs progression from a simple buggy demo to a full polished game.
Thatâs all for our interview with Sam, Moon Rift is scheduled for release in November 2013, check out Moonrift.com for more.
Recently, Danielle and myself (Abdul Rob) checked out the demo to Sam Hutcherâs Moon Rift. While the demo itself only served as a preview to the final game (which seems to be intended for launch somewhere around November 2013), it did still manage to leave us with a mostly positive impression.
Walk through
Character Select / Customization
Customizing your character consists of a couple of different haircuts, shirts and skin tones, No gender swap was available, which could be due to possible story elements rather than nameless/random hero. The choices for character were unique though some may feel it leaves something to be desired with how limited options were, but itâs forgivable due to the development background of the game.
Tutorial
Giant signs are plastered on the tutorial walls, telling you what you need to know to navigate the basics of the game Fortunately easily skippable if you choose to do so, pretty brief and concise too, in part due to the gameplay of the game. It seemed that on successive playthroughs that you had to redo the tutorial section, this may have been a bug or just the way the demo is for now. The briefness of the tutorial, as well as the disparity between the tutorial environment and actual levels is large enough to the point of entering the actual game was a little overwhelming.
Town
Pretty neat town, reminds me of Mother/Earthbound series for some reason, but like a grungier, grown up version. You only get to see the Ammo and Gun Store (+ Rocket) in the demo, there may be further additions to it post release. Neither of us could manage to buy any guns or ammo for some reason, I may need to redo the Tutorial.
Level
Being procedurally generated meant that the gameplay experience of a level is almost never practically the same.
Platforming elements does come into play abit, mainly to avoid being hit - between all the high jumping, speedy enemies and touchy targeting, getting used to playing the game can take some time
The enemies can be difficult to shoot at, at times and also manage to attack you quite easily but even despite this shooting the various guns in the game was fun. Fortunately the enemies sparsely populated the level, making it feel a little empty at times but the space was almost required for movement due to their aggressiveness and difficulty of enemies - you could not simply run and gun.
Mistakes seem easy to make at the beginning. Thankfully each time you collect a piece of the moon, your health and energy will be fully restored. This is something you will definitely require to survive when first getting used to the game.
Collecting guns is addictive, youâll always want to try out new ones you find, and there were also a lot of ammo and hp/mp drops to keep you running. The special skills was also very fun to pull off and sometimes necessary versus certain more annoying opponents.
There seems to be a fairly decent variety of enemies too, in both appearance and type such as flying enemies, other gun toting humans, random creatures with their own unique ways to move and attack.
Replaying the level was actually pretty fun, guns get bigger and badder, so do enemies, and as a result so too does the fun, making it in your interest to keep retrying. You can purchase new guns at the store if your current arsenal isnât to your satisfaction, as well as top up on ammo before you embark on your next mission.
Impressions
The game was pretty fast paced but also had some jarringly more awkwardly slow moments, such as with certain fodder enemies almost requiring to use your special skills to kill them simply because of how quickly they would react otherwise (making it v difficult for you to pin them down).
Other awkward moments include the running, which really seems like it needs a dash to keep up with an otherwise hectic game which sees you bouncing around all over the place, the bouncing around itself was fun though. This brings us to the last point that the shooting can be good but its still more on the difficult side when it comes to hitting even the most basic enemies - which some players may prefer.
Progress
Progress in the game seemed pretty smooth, even if you're not getting lucky with uber weapons, which seem to be very easy to come by - the hp/mp/ammo drops will ensure you prevail in your shootouts. The addition of randomized visuals with the randomized guns definitely helps in keeping you interested in what may drop next or appear in the Gun Store.
Your time in the game will see progress in various ways, from your character levelling up, to your gun collection expanding as well as with it being a game using procedural maps, to the number of unique level experiences increasing with time.
Graphics
The visuals are colourful with a retro twist, this game is sure to entice players from various generations. Thereâs a certain palette of bleak colours used (turquoise, purple, grey) throughout the game which complement each other well and help to set apart the games aesthetics from other titles.
The pixelated graphics are also done in a stylized fashion, with great attention to having been paid to the detail on the levels. The consistency of the visual themes help bring what you see together and reinforce a certain atmosphere that mixes in a good dose of nostalgia and goofiness with the sci fi.
Unique elements
The gameplay lies somewhere between straight run and gun and more metroid style platform shooters. The simplicity of the game, at least from what we saw from the demo is also itâs beauty - you can hop in and just start shooting things and see things explode and collect lots of cool loot, all in itâs own distinct scifi setting.
pros/cons
pros include addictive collect em all type gameplay, solid sense of firing a wep, good visuals, quirky setting. Â Engaging soundtrack and graphics
cons include enemies hop around far too much, guns could react a little faster than they do. No auto screenshot save support.
A multiplayer version of the game is definitely welcome.
Kickstarter w/details -
Moon Rift recently hit the $6,000 goal set
We are unsure of plans for Moon Rift to reach Steam. If it was available on the Steam platform, it could reach a wider audience. The soundtrack could also be put up on Steam as a download or a package deal with purchase of the game.
Gaming & Music - Wiz Khalifa & Sledgren
Never Been Part 1 / 2 & Chrono Trigger
Never Been Part 1 & 2 are  from Philadelphia rapper, Wiz Khalifaâs mix tapes Kush and Orange Juice (2009) & Taylor Alderdice (2012). Never Been part 1 sees Wiz rapping to his lady friend (as seen in the video) and alongside his significant other, Amber Rose and Rick Ross in part 2,
To anyone whoâs played Chrono Trigger what would be instantly recognizable is the sample used for the tracks - both produced by Sledgren - sampling Schalaâs Theme for Never Been part 1 and Secret of the Forest for Never Been part 2, both of which were produced by Yasunori Mitsuda for the 1995 SNES classic by Squaresoft.
Seeing a major label producer use gaming soundtrack samples isnât all that hard to believe either as Sledgren described himself as being a âbig video-game headâ in an interview with the Pittsburgh City Paper, which in todays day and age isnât all that uncommon for people in or outside of the music industry to be. (http://www.pghcitypaper.com/pittsburgh/hazelwood-born-sledgren-makes-a-name-as-producer-for-wiz/Content?oid=1530854).
While some may have reservation on this take of the classic titles belated OST and Yasunoriâs best work in his own words the tracks stands out for a number of reasons.
The most of clear of these being what it represents, as itâs one of the most notable uses of sampling a games ostâs for a mainstream artists music. This as a result could mark yet another turning point for gaming as a mainstream activity by it permeating into popular music.
The other point to consider with this track is that, while some may not be fond of it, there are still many who are, myself belonging to the latter group. This is due to its both creative and appropriate use of the samples, as while it may not be building on the original tracks feeling It doesnât sound out of place either but rather fits perfectly with the rappers delivery and persona, with the vibe of the music complimenting his lifestyle.
This itself comes as a surprise as gaming OSTâs havenât too notably managed to be used well in such a way conceptually or with such publicity before. For gaming enthusiasts and Chrono Trigger fans in particular, this would represent something particularly positive.
While some fans may not appreciate the take on the classic OST it does go to show both the admiration and respect for Yasunoriâs self claimed landmark title (which he hospitalized himself by over working on) by considering to use it in the first place and to keep much of the sample intact and still bring out a different vibe from it.
The flexibility of the games OST can be sourced to the track themselves, as Yasunori has cited being influenced by and defining the success of the OST to the use of more contemporary genres of music such as jazz music as well as folk music (as oppose to the then popular use of semi-orchestral like music), to create a more minimalist but unforgettable soundtrack that would stay with players for years to come.
This use of more contemporary genreâs of music would in turn translate well when sampled for more current sounding rap music.
One could argue that chip tune music and some gaming related rap music is also doing what these tracks do, but while they have garnered attention at times in recent years but it would still be fair to say that those are seen more as noveltyâs by most music lovers due to both its niche appeal and possible kitschiness .
Wizâs track in comparison however, brings gaming music into mainstream and mixes it with life & lifestyle outside of what is solely gaming related.
The significance of this doesnât only lie in more music being mixed with gaming ost samples but also for the original soundtracks themselves by garnering more attention to an aspect of gaming that doesnât always get the recognition it deserves.
Wiz and Sledgren havenât only mixed in music from Chrono Cross however, but also Sonic in the song Mrs.Rightfernow from the Flight School (2009) mix tape which samples the music from the Green Hill Zone level, theyâve even sampled Kirbyâs Adventure (NES) Grape Garden Map Screen music in the song One Way on the Burn After Rolling (2009) mix tape.
Hopefully we will see more of this type of music in the future, as it would only provide another option for both lovers of music and gaming to bring both together.
Gamedevtuts+ is the latest branch of the tuts+ network offering regular, free in depth articles that discuss, teach and display various methods in various coding languages and development kits to improve your development capability.
Launched in mid 2012 the gamedevtuts+ catalogue of articles is steadily growing to cover a range of development kits ffrom the more high end and pricey such as [] , to those freely available like [].
Never Been Part 1 & 2 are  from Philadelphia rapper, Wiz Khalifa's mixtapes Kush and Orange Juice (2009) & Taylor Alderdice (2012). Never Been part 1 sees Wiz rapping to his lady friend (as seen in the video) and alongside his significant other, Amber Rose and Rick Ross in part 2,
To anyone who's played Chrono Trigger what would be instantly recognizable is the sample used for the tracks - both produced by Sledgren - sampling Scala's Theme for Never Been part 1 and Secret of the Forest for Never Been part 2, both of which were produced by Yasunori Mitsuda for the 1995 SNES classic, Chrono Trigger by Squaresoft,
This may not be too much of a surprise seeing as Sledgren described himself as being a "big video-game head" in an interview with the Pittsburgh City Paper (http://www.pghcitypaper.com/pittsburgh/hazelwood-born-sledgren-makes-a-name-as-producer-for-wiz/Content?oid=1530854).
While some may have reservation on this take of the classic titles belated OST and Yasunori's best work in his own words the tracks stands out for a number of reasons.
The most clear being what it represents, as it's one of the most notable uses of sampling a games ost's for a mainstream artists music. This as a result could mark yet another turning point for gaming as a mainstream activity by it permeating into popular music also.
The other point to consider with this track is that, while some may not be fond of it, there are many who are, myself belonging to the latter group. This is due to its both creative and appropriate use of the samples, as while it may not be building on the original tracks feeling It doesn't sound out of place either but rather fits perfectly with the rappers delivery and persona, and compliments his representative lifestyle.Â
This itself comes as a surprise as gaming OST's haven't too notably managed to be used well in such a way conceptually or with such publicity before. For gaming enthusiasts and Chrono Trigger fans in particular, this would represent something particularly positive.
While some fans may not appreciate the take on the classic OST it does go to show both the admiration and respect for Yasunori's self claimed landmark title (which he hospitalized himself by over working on) by considering to use it in the first place and to keep much of the sample intact and still bring out a different vibe from it.
The flexibility of the games OST can be sourced to the track themselves, as Yasunori has cited being influenced by and defining the success of the OST to the use of more contemporary genres of music such as jazz music as well as folk music (as oppose to the then popular use of semi-orchestral like music), to create a more minimalist but unforgettable soundtrack that would stay with players for years to come.
This use of more contemporary sounds would in turn translate well when sampled for more contemporary sounding rap music.
Chip Tune music and gaming orientated rap music have garnered attention at times in recent years but it would still be fair to say that those are seen more as novelty's by most music lovers due to both its niche appeal and possible kitschiness .
Wiz's track in comparison however, brings gaming music into mainstream and mixes it with life & lifestyle outside of what is solely gaming related.Â
The significance of this doesn't only lie in more music being mixed with gaming ost samples but also for the original soundtracks themselves by garnering more attention to an aspect of gaming that doesn't always get the recognition it deserves.
Wiz and Sledgren haven't only mixed in music from Chrono Cross however, but also Sonic in the song Mrs.Rightfernow from the Flight School (2009) mix tape which samples the music from the Green Hill Zone level, they've even sampled Kirby's Adenture (NES) Grape Garden Map Screen music in the song One Way on the Burn After Rolling (2009) mix tape.
Hopefully we will see more of this type of music in the future, as it would only provide another option for both lovers of music and gaming to bring both together.
The Misadventures of P.B. Winterbottom was released in 2008 by indie game developer The Odd Gentlemen. It was the first, and most successful of their games to date, winning a fair amount of awards, including the Indiecade best world/story award in 2008.
To me this game is memorable because of the humorous atmosphere, and that the player character is more of an antagonist than a hero. Each of these components brings something uncommonly seen in gaming to enjoy and experience, and it is this uniqueness that makes it memorable to me.
The Story
P.B Winterbottom is a lover of stealing all kinds of pie. In this so called âmisadventureâ our main character, who is hero and villain combined, has to traverse the city of Bakersburg while travelling through time on the tail of a mystical pie. But wherever he goes havoc follows.
The tale is told in the stylised fashion of a black and white silent movie, with heavy use of rhyme on the intertitles between levels. Some of the writing has a humorous element to it, such as the narrator often referring to P.B Winterbottom simply as âWinterbumâ.
The gameplay in The Misadventures of P.B Winterbottom is in the style of a puzzle-platformer, with aspects of time travel being brought in by the story, and the ability to ârecordâ yourself doing things to create âclonesâ so that hero can be in two places at once, making him able to solve paradoxical puzzles that would become impossible without these âclonesâ.
The ability to launch your clones into the air by hitting them with an umbrella, also adds some hilarity to the puzzle solving, especially since this technique is essential to completing some of them.
The difficulty follows a gradient just steeper than the techniques that the player has already learned, and so continually pushes their problem solving abilities. Later on this is also challenged further with timed elements, meaning that the player has to act with precise timings or else have to start the puzzle again from the beginning.
The music, composed by David Stanton, plays an integral role to the gaming experience. The style of compiled photoplay music compliments the game perfectly, lending itself to the already lighthearted, but mischievous, atmosphere. And, though itâs somewhat repetitive, youâll soon find yourself humming along.
It also draws the player in immediately by grabbing their attention and keeps it by complementing the story as it moves along. Though the storyline is a huge part of this game, it is my opinion that the music is what really makes the atmosphere.
Overall
Its twists and turns in the story, the rhyme, and the humourous way that the narrator talks about Winterbottom keeps the player interested and makes the playing experience memorable.
The music was a great addition to the overall feel of this game, and even though I played this game many months ago, when I hear the music it takes me back to that nostalgic world of pies and clones.
The Misadventures of P.B Winterbottom, with all its unique quirks, adds to the increasing number of games reimagining black and white for gaming - further establishing black and white as an emerging trend in gaming.
The addition of Guild Missions into Guild Wars 2 was something long awaited by most guilds even though the influence prices are steeper than any of the other upgrades thus far. This update brought something unique to the community of a guild.
Unlike anything else in Guild Wars 2, the bounties give guilds the chance to work together in something that can only be activated from within the guild upgrades panel. It requires mass organisation, and when Arena Net said that eight players per boss was a good idea they werenât kidding. Most of these champions hit like bullet trains and some of them have some really interesting characteristics, one of them even throws bears!
In a game which, from the start, had very few reasons to be part of a guild, this was a breath of fresh air, especially for all those long-standing guilds who longed for guild activities. Bounties provide a fantastic reason for guilds to start creating event nights and add a new level to an endgame that is otherwise lacking. While dungeons are a lot of fun, their content is far more static; the bounty champions, on the other hand, wander around an area and have hundreds of spawn locations on a map. In under fifteen minutes, not only do you have to locate them, but you also have to co-ordinate your guild group(s), and finally defeat them.
Bounties provide a fantastic reason for guilds to start creating event nights and add a new level to an endgame that is otherwise lacking
A possible tactic to make these easier to execute within the time limit, could be having team members find and follow the champions and state the location by pinging the nearest waypoint into the correct chat, so that the location is known by the relevant group: larger guilds can do this by splitting up attendees into smaller parties. Provided thereâs good communication, any teams lagging behind can be joined by those who have already defeated their champion, and given extra help to complete the bounty in the time. What makes this all possible is that it takes place in the open world of PvE! This also makes the content a little more accessible to lower level players by providing a real possibility of the bounty champions being within their level capabilities.
The guild missions - the bounties at least - are in many ways what I, as a player, imagine âdynamic contentâ should be
The guild missions - the bounties at least - are in many ways what I, as a player, imagine âdynamic contentâ should be. Arena Net achieves this by making the bounty you receive completely random, as well as unknown before activation. This gives the participants a feeling of excitement because of the mystery and unknown. Since these bounties are brand new and the variety is so vast, each playthrough will be different and, even if the same bounty comes up numerous times, there is no telling whether your team will be able to handle that championâs behaviour.
These bounties require coordination, planning, and skill. This is especially true when in the higher tiers of the bounty because of the need to spread out the attendees in order to handle more champions at once. When the numbers tackling each boss are lower, more skill is needed, and the players are unable to succeed just by spamming skills or auto-attacking. For instance, one of our teams had to take on a champion, named Bookworm Bwikki, who has a nasty habit of inflicting chill on her targets and hitting with heavy AoE, while also being invulnerable to anyone who is afflicted with a condition. Suffice to say defeating her requires good condition removal, as well as awareness. Many of the bounty champions have unforgiving mechanics such as that of Bwikki which require the player to either pay attention, or die.
Having tried them with my own guild, I am looking forward to doing them again. The sense of community was fantastic, and working together for something guild specific made it, more worthwhile being in a guild.
Though not without its issues for smaller guilds, all in all I think that this is a definite step in the right direction for Guild Wars 2 content. I look forward to trying the other types of guild mission, and will keep you posted.Â
The addition of Guild Missions into Guild Wars 2 was something long awaited by most guilds even though the influence prices are steeper than any of the other upgrades thus far. This update brought something unique to the community of a guild.
Unlike anything else in Guild Wars 2, the bounties give guilds the chance to work together in something that can only be activated from within the guild upgrades panel. It requires mass organisation, and when Arena Net said that eight players per boss was a good idea they werenât kidding. Most of these champions hit like bullet trains and some of them have some really interesting characteristics, one of them even throws bears! (http://wiki.guildwars2.com/wiki/Brekkabek)
A possible tactic to make these easier to execute within the time limit, could be having team members find and follow the champions and state the location by pinging the nearest waypoint into the correct chat, so that the location is known by the relevant group: larger guilds can do this by splitting up attendees into smaller parties. Provided thereâs good communication, any teams lagging behind can be joined by those who have already defeated their champion, and given extra help to complete the bounty in the time. What makes this all possible is that it takes place in the open world of PvE! This also makes the content a little more accessible to lower level players by providing a real possibility of the bounty champions being within their level capabilities.
The guild missions - the bounties at least - are in many ways what I, as a player, imagine âdynamic contentâ should be. Arena Net achieves this by making the bounty you receive completely random, as well as unknown before activation. This gives the participants a feeling of excitement because of the mystery and unknown. Since these bounties are brand new and the variety is so vast, each playthrough will be different and, even if the same bounty comes up numerous times, there is no telling whether your team will be able to handle that championâs behaviour.
These bounties require coordination, planning, and skill. This is especially true when in the higher tiers of the bounty because of the need to spread out the attendees in order to handle more champions at once. When the numbers tackling each boss are lower, more skill is needed, and the players are unable to succeed just by spamming skills or auto-attacking. For instance, one of our teams had to take on a champion, named Bookworm Bwikki, who has a nasty habit of inflicting chill on her targets and hitting with heavy AoE, while also being invulnerable to anyone who is afflicted with a condition. Suffice to say defeating her requires good condition removal, as well as awareness. Many of the bounty champions have unforgiving mechanics such as that of Bwikki which require the player to either pay attention, or die.
Having tried them with my own guild, I am looking forward to doing them again. The sense of community was fantastic, and working together for something guild specific made it, more worthwhile being in a guild.
Though not without its issues for smaller guilds, all in all I think that this is a definite step in the right direction for Guild Wars 2 content. I look forward to trying the other types of guild mission, and will keep you posted.Â
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pixelskylines
kianamaiart
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