destiny

We ascend the heights above the Citadel to eliminate more Taken.

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Even with Oryx missing in action, presumed Taken, his footsoldiers continue to assault Guardians and others on Venus.

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Ikora Rey sends us down into the Vault of Glass, chasing the Taken, and we make a surprising find.

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We confont Oryx on the Dreadnaught.

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New stealth tech stolen, we revisit the site of Crota's death to steal his soul's remains.

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We take a break from hunting Oryx in order to gain the arc-powered Stormcaller subclass for Narcogen's Warlock.

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Narcogen rescues the power of the Nightstalker from fallen hunter Tevis in the Black Garden.

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We raid Rasputin's bunker in search of more stealth technology.

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We return to the chamber that housed Crota's soul to pilfer a crystal.

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Blackstar and Narcogen return to the dreadnaught to find out what the Cabal have found out about Oryx and the Taken.

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With Eris Morn's ship outfitted with our stolen stealth drive, we set out to make a beachhead on Oryx's dreadnaught.

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Hunter Vanguard Cayde-6 sends us into the Cosmodrome to find some hidden stealth technology.

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We check out a Cabal distress signal from Phobos in Destiny The Taken King 's first level.

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To cap off Year 1 of Destiny just before the launch of the Taken King expansion, Blackstar, Funkmon and Narcogen take on Skolas, Kell of Kells, in the Prison of Elders.

This episode contains only the final boss fight against Skolas and not the waves leading up to him. The boss fight has been edited for length.

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Award cites 'long-term, invaluable and unique contributions'

Over at VentureBeat, Dean Takahashi has written what is probably the best article to date on the resolution of the dispute between former Bungie composer and Audio Director Marty O'Donnell and the developer that fired him last year before the release of their latest game, Destiny. It goes into the background of how the dispute arose and resulted in O'Donnell being fired from his position as Audio Director, and how Bungie also took action to attempt to strip O'Donnell of his then-unvested shares in the developer, even going so far as to reissue shares at a secret board meeting.

What the article mostly leaves out, though, are the grounds on which the arbitrator made the award-- those details are available in the full award document, available at Scribd.

There is a tendency to view the result as a complete victory and vindication for O'Donnell, and there is no doubt that the sequence of events reflects poorly on Bungie management, especially studio president Harold Ryan. However, it is worth looking at the award itself to see what O'Donnell asked for, what he actually got, and why.

What has also gone largely uncommented-upon since O'Donnell's firing is that it presumably also means the end of the creative partnership between O'Donnell and Michael Salvatori, who remains at Bungie and is working on Destiny, while O'Donnell is moving on to found his own game company, Highwire Games, with other ex-Bungie employees. That partnership spanned multiple decades and predated both composers involvement with Bungie, with began with Myth in the mid-90s.

O'Donnell submitted several claims to arbitration, and Bungie submitted its own counter-claims. Most of these either failed, or succeeded without significant consequence.

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