Ubisoft Connect status: server issues and outage reports

Problems in the last 24 hours

The graph below depicts the number of Ubisoft Connect reports received over the last 24 hours by time of day. When the number of reports exceeds the baseline, represented by the red line, an outage is determined.

Most Reported Problems

The following are the most recent problems reported by Ubisoft Connect users through our website.

• Sign in (70%)
• Online Play (14%)
• Glitches (10%)
• Matchmaking (2%)
• Game Crash (2%)
• Hacking / Cheating (0%)

Live Outage Map

The most recent Ubisoft Connect outage reports came from the following cities:

City	Problem Type	Report Time
São Paulo	Sign in	1 day ago
Carpentras	Online Play	2 days ago
Bègles	Online Play	2 days ago
La Louvière	Sign in	3 days ago
Lakewood	Online Play	5 days ago
Paris	Sign in	8 days ago

Full Outage Map

Community Discussion

Tips? Frustrations? Share them here. Useful comments include a description of the problem, city and postal code.

Beware of "support numbers" or "recovery" accounts that might be posted below. Make sure to report and downvote those comments. Avoid posting your personal information.

Ubisoft Connect Issues Reports

Latest outage, problems and issue reports in social media:

• 
  RoOSTA (@Ro0STA) reported 50 seconds ago

  @Ubisoft Players cannot reconnect to the countdown if it's still active despite inept and unreliable servers kicking them out for picking up loot. This has been in the game for YEARS. why has literally no dev addressed this at @UbiMassive !? Hold on all the new content, fix existing bugs!

• 
  morris3341 (@morris3341) reported 1 minute ago

  @Solid_evolution @LordAddictILP @GoodGameKofi ubisoft has a subscription service on pc xbox can still have game pass on pc and the should figure out a way to allow gamers on xbox to transfer their library to any other platform

• 
  Ryan (@GamblinMan910) reported 4 minutes ago

  @Ubisoft fix your piece of **** game. So many bugs and glitches and I play ******* **** *** Casino 75% of the time. That’s no exaggeration, fix it *******.

• 
  Mafia Wars (@MafiaWarsgg) reported 7 minutes ago

  The situation with @BlindOwlsGG after Phantom League is honestly another reminder of why console Rainbow Six is losing faith in community tournaments. They won the league. We finished second. Both teams competed, played the matches, respected the format and put real time into the competition. But after everything was done, instead of a serious ending, the whole thing turned into confusion: the server disappeared, the people responsible stopped showing up, and the prize pool/fees became another unresolved issue. That is the kind of thing that kills a scene. Players can accept losing. Teams can accept hard matches. What people cannot accept is spending weeks or months competing just for the tournament to end with silence, excuses, or no clear accountability. And this is not only about one league. It is becoming harder and harder to trust Discord-based console tournaments. Every time something like this happens, fewer teams want to pay entry fees, fewer players want to commit, and fewer orgs want to take console Rainbow Six seriously. Community leagues are still needed, but they cannot be run on promises alone. If there is money involved, there has to be transparency. There has to be a guaranteed prize pool. There have to be admins who stay present until the end. And there has to be accountability when things go wrong. Right now, it feels like the only tournaments teams can really trust are ESA Cups, official Ubisoft events, or competitions backed by people with a proven reputation. It is a shame, because console Rainbow Six still has players, teams and talent. But without trust, none of that matters. If this keeps happening, the scene will not die because people stopped caring. It will die because people stopped believing. RT ✅

• 
  Razgriz (@razgriiz) reported 8 minutes ago

  @Pirat_Nation The announcement that 007 First Light from IO Interactive has moved 2.2 million copies and generated around 150 million dollars in revenue after that 1.5 million unit first day surge is being sold as straightforward proof of a major commercial and critical win, yet when you actually sit inside the full set of facts including the reported development cost exceeding 200 million dollars across seven years of work the way these particular numbers are chosen and amplified and the exact language wrapped around them it becomes clear this is operating on the same gaslighting logic track that Assassins Creed Shadows followed where early positive signals were deployed to create an impression of overwhelming success broad embrace and vindication for the creative direction even as the deeper financial mechanics and eventual corporate behavior revealed a more calculated effort to control the narrative and buy breathing room rather than deliver an unfiltered account of how the release was truly landing. Start with the concrete sales picture itself because that is where the spin begins its work. IO Interactive announced 1.5 million copies sold inside the first twenty four hours which is genuinely the strongest opening they have ever recorded and beats the launch pace of any Hitman title they have shipped which matters because this is their first major original project outside that series in a long time and the James Bond license carries real name recognition that can drive day one purchases even from people who are only casually interested in the films. Steam data from analysts put roughly five hundred thousand of those units on PC alone generating something like twenty five million dollars there before platform cuts and the overall estimate now sits at 2.2 million total copies with 150 million dollars in revenue mostly concentrated on PlayStation 5 at around fifty five percent of the total. Those figures are real and they arrived quickly which is why the company and outlets covering the story are able to call it the fastest selling game in IO Interactive history and one of the stronger openings of 2026. At the same time the development budget has been reported at over two hundred million dollars which immediately changes the math because that number does not include the substantial additional spend on marketing a Bond title or any ongoing live support costs or licensing arrangements with the rights holders and when you factor in typical platform revenue shares that can run thirty percent or higher the 150 million dollars in top line revenue shrinks considerably before anyone even talks about actual profit or recouping the full investment. For a project this expensive many single player AAA releases need to reach lifetime sales well into the four or five million range or higher before they cross into clearly profitable territory especially when the goal is not just breaking even but funding sequels or studio growth and 2.2 million in the first week while respectable is still front loaded in the way almost every story driven game is with the biggest spike happening immediately and then tapering as players finish the campaign which in this case appears to be in the twelve to sixteen hour range based on how long to beat style tracking. The sharp drops in Steam concurrent players that some observers have pointed to as a crash are in reality the normal pattern for a completed single player experience rather than evidence of live service collapse and the majority of sales appear to be console driven where concurrent tracking is less visible anyway so the raw launch data does contain legitimate positives for a studio of IO Interactive size stepping out with a new IP flavored Bond origin story. The gaslighting enters through the specific way these numbers are framed and the loaded phrases attached to them because the press materials and coverage do not simply report the sales they actively construct a story of unqualified triumph and consensus. Phrases like overwhelming global enthusiasm broad appeal and successful execution of IO Interactive vision turn a solid opening into proof that any skepticism was misplaced and that the direction taken with a younger reimagined Bond has already been embraced at scale. The strong critic scores in the high eighties on Metacritic and around ninety on OpenCritic are repeatedly paired with the sales claims to create the impression that both professionals and the wider audience are aligned in celebration and that the game stands as one of the most successful releases of the year without qualifiers around what success actually requires for a two hundred million dollar title or how much of the revenue will ultimately remain after costs. This framing does not lie about the first day or first week movement but it selectively emphasizes the metrics that support the victory narrative while downplaying the budget context the front loaded nature of the sales and the difference between gross revenue and net profitability which is the same selective emphasis that appeared with Assassins Creed Shadows when Ubisoft leaned on player count milestones rather than direct sales figures and described performance as overperforming expectations even while independent tracking suggested more modest results in the low millions range and the company continued to face broader financial pressure and restructuring moves. In both cases the early positive signals are deployed not just to celebrate what happened but to lock in a public perception that makes later adjustments or quieter admissions of shortfall feel surprising or external rather than the predictable outcome of high cost ambitious projects in a market where many releases need sustained long tail performance to truly succeed. What makes this pattern function as gaslighting is the step by step way it shapes reality for the audience over time beginning with the flood of early positive data that establishes the game as a hit in the collective conversation then moving to the elevation of critic validation as evidence that the vision was correct and any pushback on tone casting or design choices is therefore coming from the wrong side of history followed by the use of that locked in success story to support real business moves such as partnership discussions or internal morale and finally the delayed moment when actual lifetime sales retention curves or studio headcount decisions reveal that the opening numbers while real did not automatically translate into the scale of victory the language had implied. During the first phases anyone raising the budget math or noting that 2.2 million units on a project this expensive is a promising start rather than automatic proof of generational dominance gets positioned as overly negative or out of step with the data and the critic scores and by the time corporate actions like targeted restructuring or scaled back plans appear the earlier triumphant framing has already done its work of making those outcomes seem like unforeseen shifts rather than developments that were always possible given the cost structure and market realities. Assassins Creed Shadows followed nearly identical steps with pre launch financial distress and controversy around its protagonist casting being met with strong defensive positioning that the game would deliver and post launch claims of strong player engagement being used to suggest the direction had been validated even as the overall company picture continued to involve cuts and the independent sales estimates remained more modest than the savior level performance some had hoped for. The effect in both cases is to make the audience doubt their own reading of the situation in the moment and then later feel the rug pulled when the business consequences surface without the earlier narrative ever being directly corrected. The incentives driving this approach are straightforward once you look at them without the marketing gloss because a studio and its partners have every reason to present the strongest possible version of early results in order to maintain momentum for future projects protect the perceived value of a major license like Bond and keep talent and external relationships intact during the uncertain period right after launch when true profitability is still unknown. IO Interactive coming off years of Hitman success has built a reputation for quality stealth action and this Bond title represents a significant expansion of scope and ambition so the pressure to demonstrate that the move has paid off quickly is real especially with Amazon and MGM involved in the wider ecosystem. At the same time the actual game appears to have landed well with both critics and players based on the Metacritic user scores sitting around eight point seven with strong positive percentages which suggests the quality concerns that sometimes accompany these high budget releases are not the primary issue here unlike some more contested titles where review gaps or player pushback were more pronounced. The spin is less about covering up a bad game and more about accelerating the conclusion that the commercial and creative bets have already been fully vindicated when the data so far supports a promising opening that still requires time and additional performance to prove it can carry the full weight of its production costs. This is why the pattern repeats across different studios and different levels of actual quality because the short term value of controlling the narrative buying time and shaping expectations often outweighs the longer term cost of eroded trust once gamers learn to treat first week victory laps as standard operating procedure rather than definitive proof. What ends up happening over repeated cycles is that the audience becomes increasingly attuned to watching what studios do after the initial wave rather than what they say during it because the gaslighting logic ultimately relies on the gap between the immediate celebratory framing and the slower arrival of full financial and operational reality. With 007 First Light the strong reviews and solid launch numbers give it a better foundation than some previous examples but the same structural pressures around high budgets front loaded sales and the need to justify ambitious scope remain in place so the question becomes whether the game sustains momentum through word of mouth sales periods and any post launch content or whether the trajectory follows the more common path of a respectable opening that does not automatically scale to the level the early language suggested. The comparison to Assassins Creed Shadows holds because both cases show the same mechanism at work where positive early signals are used to establish a story of success and broad acceptance that then makes any subsequent adjustments appear as surprises rather than outcomes that were always within the range of possibility given the costs involved and the selective way the data was presented from the start. Cooking through the entire sequence from the first day announcement through the revenue estimates the budget context the critical reception the normal single player player count behavior and the business incentives reveals a consistent pattern of narrative management that prioritizes short term perception control over complete transparency and that pattern is what makes the whole thing feel like gaslighting even when parts of the underlying performance are genuinely positive.

• 
  Glingler (@glinglerlol) reported 9 minutes ago

  @therickdance no I do but when I try to play it made me sign into a ubisoft account and when i did it said I had to sign in with a different account but it didn't give me the option to sign out so I just can't play now

• 
  Dominic Booth (@processangel1) reported 10 minutes ago

  @assassinscreed Ubisoft are in serious trouble if they cannot make a good game this year.

• 
  Fae (@faeatthemezz) reported 14 minutes ago

  I remember wondering wtf they were doing when they just kept adding stuff to the subscription and raising the price. Not only did they go hard on the unsustainable model of trying to push everyone to use xCloud because they wanted it to act as a demo service, I don't think anyone was asking for them to add EA Play...and all characters unlocked for Riot games...and Ubisoft titles...and so on and so forth if it meant raising the price.

• 
  Rushio (@RushioLCO) reported 15 minutes ago

  @Ubisoft @Rainbow6Game the new ranked 3.0 is supposed to give me teammates my skill level, not retards who go 0 & 5 and then disconnect after 2 rounds

• 
  Artemas (@ArtNash3) reported 20 minutes ago

  Update: If you upgrade health carry capacity in the skill tree , this will reset and get rid of the bug. Still an issue however and hopefully Ubisoft patches.

• 
  RM's Gallery of DeHernanding #CrimsonDesert (@GalleryOfPLAY) reported 20 minutes ago

  @ac_landmarks For me, the gameplay in AC Shadows, especially with Naoe, was the best I’ve ever experienced in the series, and I played everything. Ubisoft needs to figure how they pace the content in their games, because they always run into the issue where the main story has tremendous urgency, but then you put it off for dozens and dozens of hours as you go do other things. This ends in the main story not being as profound. It loses its impact. Surely, this is a problem with most open world games, but I especially felt it with AC Shadows. On the flip side, FarCry 6 was much better in that regard. A lot of the side content was canonical to the main plot.

• 
  MiamiSunryze 🌞🏝️🌊 (@MiamiSunryze) reported 21 minutes ago

  @ray_ray200108 Ubisoft absolutely sucks. Thats what the problem is.

• 
  XOXO cutiepie (@Zavier999_) reported 21 minutes ago

  ranked 3.0 is a joke. matchmaking is not fair. comms don’t work. audio bugs everywhere. @Ubisoft fix the game please.

• 
  Actuals (@itsActuals) reported 23 minutes ago

  I have restarted my game, restarted my PC, logged in and out of ubisoft connect, and even uninstalled and reinstalled my game, and MY VOICE CHAT STILL DOES NOT WORK. I CANNOT HEAR OR SAY ANYTHING @Ubisoft FIX YOUR GAME

• 
  Marc-Andre Sauve (@sauve_02) reported 29 minutes ago

  @Ubisoft @Rainbow6Game Never did that since I'm playing R6 (2020). But I never expected this for Ranked 3.0. We won 4-0 and won 19RP. We just lost 4-5 and we lost 31RP. You need to fix something !

• 
  CrazyRuckusN64 (@CrazyRuckusN64) reported 32 minutes ago

  true even though i got the south park games already i would defo get them for free cuz ubisoft still forces you to login even if you buy fractured on steam, and ubisoft does this thing now where if you are not active for a really long time you lose access to everything. which is annoying because that game is fun to mod

• 
  baun (@baundiesel) reported 33 minutes ago

  Layoffs suck especially when done by a division under a multi trillion dollar company but this is happening amidst Ubisoft layoffs and rumored job cuts coming to Playstation as well. These journalists know these things, they know this is a industry wide issue, why play dumb?

• 
  derpy p (: (@appaloosabones) reported 34 minutes ago

  it should be the opposite, the highest rank should lose the most elo not the other way around. and the lowest rank on the winning team should gain the most elo too considering if he beat players on another tier than him. FIX THIS @Ubisoft @Rainbow6Game

• 
  Breno (@imnotbreno) reported 36 minutes ago

  @manfightdragon But not fast enough, according to Ubisoft and Square Enix. So even if it was cheap, it wouldn't fix for all games. Just let games install on internal storage, this way solves for every game!

• 
  Panik188 (@panik1881) reported 40 minutes ago

  @G_a_l_v_a @oliver_drk And why is Sony, Ubisoft ercm doing the same? Its not just a Microsft problem.

• 
  Dilmat (@Dilemmazhits) reported 42 minutes ago

  dokk is broken, and the new ranked system sucks. idk who at thought @Ubisoft this was a good idea. ranked is now impossible as a solo que player.

• 
  Kaizer Yousuf Hossain (@KaizerNYC) reported 44 minutes ago

  @finalfantasyvii I hated how in Rebirth, synergy gets tied to limit breaks. I don't wanna have to rely on using synergy to build and use limit breaks. The limit break system was perfect in Intergrade. The skill system and folios sucked *** in Rebirth, too. I'll be pissed off if the skill system still sucks in Revelation. NPCs talked too slow in Rebirth. That needs to be fixed. The Ubisoft style in Rebirth needs to go back to how it was in Remake. Bloat needs to be dialed back. Game needs to feel tighter and less flighty. I miss how when you go behind enemies, you stagger them more easily. Bring that back. Bring Remake's Punisher Mode back. Make the attack vibrations more in line with how they were in Remake. Rebirth lessens them for some reason. Riding chocobos was too stiff. Movement needs major work. Give us an option to use Red XIII's grittier adult voice over his kid voice during non-main story parts of the game. Make the interactive elements in the worlds like the mushrooms you hop on in gongaga less awkward and polish them so they feel more enjoyable. Make the UI more polished like Remake. Rebirth's Interface had superfluous elements that were redundant. If these issues don't get fixed, I'm probably gonna skip out on buying this one, tbh. I absolutely LOVED remake. Probably my top 10 fav games of all time, and I've been gaming since the 90's. Rebirth is the game that disappointed me the most in my entirely life, though, and I absolutely hated it. Please, Square Enix, for the love of god, don't make this game a Rebirth clone.

• 
  HypaX (@Hypax_r6) reported 45 minutes ago

  @Eaglex_99 @UbisoftSupport I’ve got the same problem as you I’m trying to talk with Ubisoft in tickets. I think a month alr went by

• 
  Izuku Mi-TORE-ya 🦇 (@opwnusprime) reported 48 minutes ago

  @K__Med Not even just an Xbox issue, its an industry issue, ubisoft layed off people this morning aswell

• 
  fish (@Bbaps97) reported 49 minutes ago

  @Ubisoft fix ur game

• 
  FanboyKillerNews (@FanboyKillerX) reported 51 minutes ago

  @FlippySuper Incredible that you retards are mad that they said if one game does well it will get sequels. Actual stupidity. You people ragged on ubisoft for years hoping it fails watch their financials drop and now its an issue that they want a game to make MONEY to afford SEQUELS.

• 
  Perspektive (@aPerspektive) reported 52 minutes ago

  @Ubisoft Please fix the rapid amount of server disconnects this is getting ridiculous @Rainbow6Game

• 
  Virifly Esport (@OfficialVirifly) reported 54 minutes ago

  What happened to @BlindOwlsGG after winning Phantom League is honestly a clear example of the current state of console competitive Rainbow Six. A team wins a league, players spend months competing, improving, preparing matches and giving everything, and then the Discord server disappears, the organizer vanishes, and the prize pool/fees become a problem. And sadly, this is not the first time something like this has happened. The issue is bigger than just Phantom League. Console competitive is slowly losing trust. There are fewer and fewer Discord-based leagues, fewer serious tournaments, fewer teams willing to pay entry fees, and more people starting to question if it is even worth investing money and time into these competitions. When teams see situations like this, they stop paying. When players see this, they lose motivation. When organizations see this, they stop investing. And when that happens, the whole console scene slowly dies. Community leagues can still be important, but without transparency, guaranteed prize pools, serious admins and real accountability, this scene cannot survive. At this point, I honestly think many teams will only start looking at ESA Cups, official Ubisoft events, or tournaments with a proven and reliable organization behind them. It is sad, but this is the reality right now: if trust keeps disappearing, console competitive Rainbow Six will disappear with it.

• 
  no arms and no legs (@noarmsandnolegs) reported 54 minutes ago

  To everyone saying 'wE wAnT NeW gAMes DiReCtLy, nOt a rEmAkE': Remember Star Fox Zero? Brand new game, flopped, franchise dead for 10 years. Remember Sly Cooper 4? Brand new game, underperformed, franchise buried for 13 years. In today’s industry, executives won't risk $50M+ on a dead mascot without checking if the audience is still there. Buying Legends Retold is literally voting to tell Ubisoft: 'Yes, we want Rayman 4.' It's that simple. Concerning Star Fox, they are doing a remake to test it. Sly Cooper just got a teasing in Astro Bot recently, and seeing the fanbase going nuts after it, they might be considering something. Now, concerning Spyro, that I love too btw: Activision released both Crash and Spyro remakes to test the waters. Crash exploded (20M+ copies), Spyro did okay but didn’t match those insane numbers. Guess who got a big-budget sequel? Crash 4. Aaand who got sent to support Call of Duty franchise? Toys for Bob. At least Spyro appeared in CTR Nitro Fueled. I heard recently that Spyro will have a sequel. Could be anything, but they know the popularity of it. Patience is key guys.

• 
  kieran badboy adams 🇬🇧🏴󠁧󠁢󠁳󠁣󠁴󠁿 (@KieranBadboy) reported 56 minutes ago

  @Ubisoft_UK Can’t create an account or login to Ubisoft is it down or something at @Ubisoft @Ubisoft_UK