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 (15%)
• 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
Lakewood	Online Play	2 days ago
Paris	Sign in	5 days ago
Missouri City	Sign in	5 days ago
Charleroi	Online Play	9 days ago
Lille	Sign in	10 days ago
Paris	Sign in	10 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:

• 
  Reece (@rt_2006_) reported 6 minutes ago

  @X1seh @Ubisoft the map ain’t bad it’s literally the second day of it being out once we all learn it it’ll be fine, but yeah dok can **** right off too broken

• 
  Ave 🧟‍♀️ (@cosmonautscarf) reported 11 minutes ago

  @WanderingManga @TheJoshMan07 seems the overarching issue is ubisoft being a terrible, money hungry company which is always raring to jump on the worst gaming trends 😔

• 
  jrbviwiz (@jrbviwiz) reported 11 minutes ago

  @strajk_ @MartoRoss @yngmisu It being steam keys kills your argument, how can you be in favor of using a service to advertise and handle the backend of selling and ownership of products while undercutting that same service you signed a contract with? If it was all in house on uplay I would get it.

• 
  Unsupervised Mandolorian (@Ashrubel) reported 11 minutes ago

  @RetnaburnX @Voltzzzzzzz36 @PaladinAshe How is Steam a Monopoly? Is the product/service they offer materially the same as the product/service being offered by Ubisoft? Are they preventing Ubisoft from selling games? Are they preventing Ubisoft from offering a similar Service? How many AAA Game Developers has Steam bankrupted by killing their ability to compete?

• 
  MidexHealed (@Midexhealed) reported 15 minutes ago

  @Funcom Never seen a company ruins a live service game this bad, not even Ubisoft could pull this off. Never buying anything from you guys. Such a good IP completly trashed by incompetence.

• 
  she mac my wood until i fleet (@com_radical) reported 18 minutes ago

  @gwentandbolters @ForgetThatIdea @Master_Asmodai “i wonder why companies like ubisoft are broke now” ubisoft isn’t broke. they are losing money. they are losing money because they make bad games that don’t sell high enough to justify their budgets. the problem is you think the games are bad because they’re woke. you think that-

• 
  Evan (@DjevnR6) reported 20 minutes ago

  @safehxld @drajnyy @Ubisoft how do i fix it

• 
  Lil’ Brudder (@lilbrudder2) reported 22 minutes ago

  @NoneNon46893937 @TheKingerdYT Again, Ubisoft didn’t make God of War. And if you think the problems Ubisoft has begin and end at “the wokes”, then you are far more foolish than I originally thought

• 
  Mikal (@mikkalmikky) reported 24 minutes ago

  The problem is: - Industry lobbyists get private face time with regulators just before a key decision - The consumer side SKG is sidelined - Ubisoft has direct skin in the game because their actions helped spark whole movement and is the biggest advocate for buying not owning

• 
  💫 (@X1seh) reported 25 minutes ago

  @logan_r_smith10 @Ubisoft I Hit #1 7 times mate im Diamond since y1 I know what I’m saying and youre maybe Gold or Silver doka is broken! The Map is to big for Ranked!

• 
  Wandz (@Yewande92) reported 26 minutes ago

  @Providence_777 @Cursemark143 relasing IPs and are adding budgets to games their making. people have to wait between 4- 7 years for a new game and it costs £70. Companies like Ubisoft often bring out bugged and expensive games. The issue is not based on how a video game character looks.

• 
  MR3D-Dev (@MR3Dev) reported 26 minutes ago

  @zeelee3D @HoegLaw "Well, they did threaten to kick Ubisoft off of steam if they offered discounts on their own website." I was not aware of that, the could be a problem, legal one.

• 
  Nico Firmino (@srpreethoven) reported 28 minutes ago

  @asha_shar You only have one mission in 2027, my queen Asha: buy goddamn Ubisoft and fix its games. WE NEED SPLINTER CELL

• 
  Barry A Smith (@barret_oblivion) reported 29 minutes ago

  @Common_mon @glorpinity Well for starters it got publishers attention. Division 3 just got announced that Ubisoft is now hiring more people for it. The looter shooter genre of live service MMO just opened up because the "king" died.

• 
  Xbox fan boy (@BespokePoint007) reported 30 minutes ago

  @The_CrapGamer The biggest issue with fable is this Ubisoft like mentality that more is better. 1000npc's why?? All that will do is make the repeated dialogue and assets feel so much more repetitive. And then where would you go with a sequel? 2000 NPC's?

• 
  Mightykeef (@MightyKeef) reported 31 minutes ago

  @GriftGod_ How many people do you honestly think has Ubisoft +? Lol. I’m betting maybe a million people? 2 million? As much flack as Ubisoft gets, I highly doubt many people use their subscription service. But also, the last line tells you the day 1 sales were the second most since Valhalla

• 
  STXRRBOYY-3 (@STXRRGXZiiNG) reported 32 minutes ago

  Sony lost the plot a long time ago. And I’m not even talking about Kratos getting replaced by his *****, even though I think that’s completely braindead. It’s more about the fact that Sony is terrified of doing anything original anymore. They’re playing it as safe as humanly possible, even if it means pissing off a bunch of people online. Astro Bot was a super refreshing change of pace, but other than that, everything else just feels like copy paste slop. If they don’t change course soon, they’re gonna crash and burn just like Ubisoft, because people are eventually gonna get sick and tired of the exact same formula.

• 
  OCG 1244 🇷🇸🇧🇾ꒌ (@OldClassicGamer) reported 32 minutes ago

  @Droilius I actually fully understand you. I’ll support the game to support franchise and it is a good deal when you consider price and inclusion of Rayman Origins Enhanced Edition, but always when I think about Retold, there are issues I can’t look past. I wish Ubisoft hired some advisers

• 
  🔎🕵️‍♂️Floki, P.I🕵️‍♂️🔎 (@Floki_Vt) reported 36 minutes ago

  All this tells me....Ubisoft didnt actually learn the issue that caused the Yasuke backlash... Sad ultimately.

• 
  JT, Game feedback (@T22Jarrod) reported 36 minutes ago

  @InternetH0F Only way Xbox could make that happen is if they buy or partner with Ubisoft & save them from their own greedy & bullying business tactics, making the games Ubisoft fans actually want instant of live-service Concord like flops!

• 
  Brandon Marr (@Bdog069) reported 37 minutes ago

  @1GamewithDave1 The only time I had a problem with it was Ubisoft assassins creed where both Odyssey and Valhalla made the females the canon characters and at that point I was like then what ******** was the point of me choosing males for those games

• 
  Mason (@safehxld) reported 38 minutes ago

  @DjevnR6 @drajnyy @Ubisoft Gotta be a driver issue

• 
  Nate W. (@The_Cornelius_) reported 46 minutes ago

  If you’d ever like a reason for game studio closures: Piraters… luckily for some developers(notably Ubisoft), they plant bugs and unfixable patches. Ever had a graphics issue or could not complete an objective? Go ahead and report it!

• 
  Perspektive (@aPerspektive) reported 46 minutes ago

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

• 
  Aceman67 (@aceman67) reported 47 minutes ago

  @theWellRedMage Steam is not a Monopoly The legal definition of a Monopoly requires that something be the sole source of a product or service. Since Playstation, Microsoft, Xbox, EA, Epic, Ubisoft, GoG and others exist, Steam, by definition, CANNOT be a Monopoly.

• 
  wesmellblood2 (@LedingtonIi) reported 48 minutes ago

  @Ubisoft FIX YOUR DAMN GAME AND BAN THE ******* CHEATS THAT ARE IN YOUR ******* GAME INSTEAD OF RELYING ON YOUR R6SHEADGUARD BS AND DO WHAT VALRIENT WITH VANGUARD OR MAYBE USE AND ANIT-CHEAT SOFTWARE THAT ACTUAL WORKS LIKE VANGUARD OR MAYBE SEE IF YOU CAN USE VANGUARD

• 
  Razgriz (@razgriiz) reported 51 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.

• 
  FanboyKillerNews (@FanboyKillerX) reported 52 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.

• 
  Robert Gough (@SilentWraith87) reported 54 minutes ago

  @FootLettuce98 @JakeSucky realistically they'll either pull a Ubisoft/Division 2 and reverse the decision to end live service on D2, or take a few months, discuss what to do and relaunch D2 as Destiny Infinite or something. They already have the game, the update leaves the game in a pretty good spot.

• 
  Syre (@KaizSyree_) reported 56 minutes ago

  2 calypso casino matches in a row on ranked I might actually blow up #ubisoft please fix this bug asap