User manual | Electronic Arts 14633195002 Video Games User Manual

WaRnIng: pHoToSenSITIVITy/
A very small percentage of individuals may experience epileptic seizures or blackouts when exposed to certain
light patterns or flashing lights. Exposure to certain patterns or backgrounds on a television screen or when
playing video games may trigger epileptic seizures or blackouts in these individuals. These conditions may
trigger previously undetected epileptic symptoms or seizures in persons who have no history of prior seizures
or epilepsy. If you, or anyone in your family, has an epileptic condition or has had seizures of any kind, consult
your physician before playing. IMMEDIATELY DISCONTINUE use and consult your physician before resuming
gameplay if you or your child experience any of the following health problems or symptoms:
eye or muscle twitches
any involuntary movement
altered vision
loss of awareness
or convulsion.
uSe anD HanDlIng of VIDeo gaMeS To ReDuCe THe
lIkelIHooD of a SeIZuRe
 Use in a well-lit area and keep as far away as possible from the television screen.
 Avoid large screen televisions. Use the smallest television screen available.
 Avoid prolonged use of the PlayStation®3 system. Take a 15-minute break during each hour of play.
 Avoid playing when you are tired or need sleep.
Stop using the system immediately if you experience any of the following symptoms: lightheadedness, nausea,
or a sensation similar to motion sickness; discomfort or pain in the eyes, ears, hands, arms, or any other part of
the body. If the condition persists, consult a doctor.
Use caution when using the DUALSHOCK®3 wireless controller motion sensor function. When using the
DUALSHOCK®3 wireless controller motion sensor function, be cautious of the following points. If the controller
hits a person or object, this may cause accidental injury or damage. Before using, check that there is plenty of
space around you. When using the controller, grip it firmly to make sure it cannot slip out of your hand. If using
a controller that is connected to the PS3™ system with a USB cable, make sure there is enough space for the
cable so that the cable will not hit a person or object. Also, take care to avoid pulling the cable out of the PS3™
system while using the controller.
geTTIng STaRTeD .......................................................................................... 2
CoMpleTe ConTRolS ................................................................................... 3
MaIn Menu ....................................................................................................... 4
InTRoDuCTIon ............................................................................................... 5
CReaTIng HaWke ........................................................................................... 5
IMpoRTIng THe eVenTS of DRagon age: oRIgInS ........................... 6
ConVeRSaTIonS.............................................................................................. 7
CoMpanIonS .................................................................................................... 8
CHaRaCTeR pRogReSSIon .......................................................................... 9
CoMbaT ............................................................................................................ 12
ITeMS................................................................................................................. 28
play onlIne ................................................................................................... 31
CReDITS ............................................................................................................ 32
lIMITeD 90-Day WaRRanTy ...................................................................... 37
This product has been rated by the Entertainment Software Rating Board. For information about the ESRB rating
please visit
WaRnIng To oWneRS of pRoJeCTIon TeleVISIonS:
Do not connect your PS3™ system to a projection TV without first consulting the user manual for your projection
TV, unless it is of the LCD type. Otherwise, it may permanently damage your TV screen.
HanDlIng youR pS3™ foRMaT DISC:
Do not bend it, crush it or submerge it in liquids.
Do not leave it in direct sunlight or near a radiator or other source of heat.
Be sure to take an occasional rest break during extended play.
Keep this disc clean. Always hold the disc by the edges and keep it in its protective case when not in use.
Clean the disc with a lint-free, soft, dry cloth, wiping in straight lines from center to outer edge. Never use
solvents or abrasive cleaners.
Video output in HD requires cables and an HD- compatible display, both sold separately.
Starting a game: Before use, carefully read the instructions supplied with the PS3™ computer entertainment
system. The documentation contains information on setting up and using your system as well as important
safety information.
Check that the MAIN POWER switch (located on the system rear) is turned on. Insert the Dragon Age™ II disc
with the label facing up into the disc slot. Select the icon for the software title under [Game] in the PS3™
system’s home menu, and then press the S button. Refer to this manual for information on using the software.
Quitting a game: During gameplay, press and hold down the PS button on the wireless controller for at least
2 seconds. Then select “Quit Game” from the screen that is displayed.
To remove a disc, touch the eject button after quitting the game.
TRopHIeS: Earn, compare and share trophies that you earn by making specific in-game
accomplishments. Trophies access requires a PlayStation®Network account.
Saved data for PS3™ format software
Saved data for PS3™ format software is saved on the system’s hard disk.
The data is displayed under “Saved Game Utility” in the Game menu.
CoMpleTe ConTRolS
Move character
Lock target
Rotate camera
Center camera
Change target
Take default action (attack, talk, open, etc.)
Use battle menu shortcut
Open radial menu/Pause
Switch to secondary battle menu shortcut
Previous party member
Next party member
Select full party
Open area map
Open pause menu
left stick
B button
right stick
N button
directional buttons
S button
F button/D button/A button
W button (press and hold)
R button (press and hold)
Q button
E button
Q button + E button
SELECT button
START button
The left stick and right stick control character movement and camera movement, respectively. If you have
multiple party members, switch among them by pressing the Q button or the E button, or select your
whole party at once by pressing the Q button and the E button simultaneously. In the radial menu
(press the W button), order your party members to hold their position instead of following the character
you’re currently controlling, or order them to move to a specific location.
TaRgeTS anD DefaulT aCTIonS
Interact with any character, creature, or object that displays a name and an icon when you target it
(either by walking up to it or by cycling through all possible targets by pressing the directional buttons).
To take a default action—say, to speak to a friendly character, open a chest or a door, or strike an enemy
with a basic attack—select the target and then press the S button.
In combat, the character you’re controlling executes a basic attack maneuver each time you press the
S button.
baTTle Menu
DoWnloaDable ConTenT
The battle menu is comprised of six icons (in two layers) displayed in the bottom-right corner of the screen. To
activate the primary shortcuts, press the F button, the D button, or the A button. To activate the second layer
of shortcuts, press and hold the R button and then press the F button, the D button, or the A button.
This screen displays new content made available after the release of Dragon Age II and also lets you manage
the content you’ve already downloaded.
RaDIal Menu
More advanced controls, like using a special ability or consuming a health potion, are controlled through the
radial menu, which appears when you press and hold the W button. The radial menu is organized into
related categories of abilities, items, and party commands, almost any of which can be assigned to a shortcut
on the battle menu by highlighting the icon and pressing the D button.
Dragon Age II tells the story of a member of the Hawke family, a refugee of the Fifth Blight who became a
central figure in events that would reshape Thedas.
The full story is not well documented, and the details of how a refugee became Kirkwall’s Champion are known
only to a few. The story is not told as it happens, but long afterward.
And the narrator is sometimes prone to exaggeration.
CReaTIng HaWke
aRea TaRgeTIng
When you select an ability that affects a whole area rather than a single target—either in a circle shape or a
cone—the game pauses automatically for you to select a target area. Depending on the size of the affected
area, the camera may also zoom out to a tactical view so that you can position the target effectively. The game
also pauses when you select an ability, like a healing spell, that affects your party members instead of your
enemies. In this case, choose your target from among the characters’ portraits on the left side of the screen.
MaIn Menu
The main menu is mostly self-explanatory. To begin playing, select NEW GAME; to resume your game in the
future, select LOAD GAME; or to load your most recent saved game, select RESUME.
These are the options that might not be as obvious:
SIgn In To DRagon age ™ SeRVeRS
This lets you log into your EA account (or create a new account) so that you can track your trophies and
character profile at To change what data is uploaded when you log in, visit the
Account Options screen.
Once you log into your EA account, it is permanently associated with your PS3™ system user profile. If you have
played other EA titles, including Dragon Age™: Origins, you may find that your user profile is already associated
with your EA account. In this case, you will not need to enter your EA account details when you select LOG IN.
Varric, our narrator, has told this story once or twice before. He has a certain way of remembering Hawke that,
er, might not be wholly consistent with the facts. After all, who would you find to contradict him?
But there are a few basics for which even Varric can’t get away with lies. You can’t say that a woman was
actually a man, or a warrior actually a mage, and expect your audience to still take you seriously.
Hawke’s class determines which abilities he or she can learn during the course of the game and has a profound
effect on combat. Class—and gender, of course—also affects how characters in the story respond to Hawke.
Warriors are front-line fighters, the backbone of any party under assault. Some heft an enormous two-handed
weapon that strikes several foes at once. Others pair a one-handed weapon with a shield that doubles as
a bludgeon.
Mages command arcane spells and hurl bolts of magic from their staves. Although mages are vulnerable when
fighting toe-to-toe with enemies, they deal immense amounts of damage and heal their allies when protected
by the party. Because they risk demonic possession, mages are either persecuted or carefully supervised in
most nations in Thedas.
Rogues are crafty combatants who wield a dagger in each hand or rain arrows from a distance. They are
particularly adept at tearing down individual opponents and are the only class that can pick locks or
disarm traps.
Class Comparison
Starting attribute
Starting talents/spells
Starting health
Starting stamina/mana
+3 strength
+2 constitution
+1 willpower
Pommel Strike
With each kill
+3 magic
+2 willpower
+1 cunning
Mind Blast
+3 dexterity
+2 cunning
+1 willpower
Miasmic Flask
With each hit
IMpoRTIng THe eVenTS of
DRagon age : oRIgInS
A few minutes into Varric’s retelling, his interrogator demands more specifics. Did Hawke truly look as Varric
describes? And how was Hawke connected to the events of the Fifth Blight, which ravaged Ferelden until a Grey
Warden slew the archdemon atop a fortress in Denerim?
At this point, you can import a save from Dragon Age: Origins to ensure that Varric’s story remains consistent
with your own recollection of history. Alternately, choose one of three pre-written histories that represent
common paths through Origins.
You can import any save from Dragon Age: Origins, the Dragon Age: Origins Awakening expansion, the
Golems of Amgarrak stand-alone downloadable content, or the Witch Hunt stand-alone downloadable content,
regardless of whether you completed the game with that save. If you did not complete the game, Varric will
presume that the remaining events of Dragon Age: Origins match the rumors he has most often heard.
When it’s Hawke’s turn to speak in a conversation, you see a dialogue wheel that offers several options for what
Hawke can say. The options presented often vary based on your choices earlier in the game.
The text you see is a short paraphrase of the longer line that Hawke will speak if you pick that option. Each
paraphrase is accompanied by an icon in the middle of the wheel, indicating the type of response or the tone in
which it is intended.
Indicates that Hawke will be helpful or particularly nice.
Indicates that Hawke will take an agreeable, tactful position.
Indicates that Hawke will be wry, humorous, or witty.
Indicates that Hawke will act charmingly.
Indicates that Hawke will speak or act aggressively.
Indicates that Hawke will speak directly or rudely.
Indicates that Hawke will initiate a fight, or strike/kill someone in conversation.
Indicates that Hawke will deputize a companion to act or speak instead.
Indicates that Hawke will flirt or pursue deeper romance.
Indicates that Hawke will permanently end a romance or turn down a proposition.
Indicates that Hawke agrees or consents.
Indicates that Hawke disagrees or refuses.
Indicates that Hawke is choosing one of multiple exclusive options.
Indicates that Hawke is making a special choice that is only available because of previous decisions.
Indicates that Hawke will either extort money or pay an informant, as indicated.
Indicates that Hawke will lie.
Indicates that Hawke will ask a question that does not necessarily lead the conversation directly toward
its conclusion. The information Hawke learns, however, may lead to new conversation options in the
future. When more than one of these questions is available at the same point in the conversation, they
are grouped together in a special Investigate section of the wheel.
Although it is possible for Hawke to venture out alone for most of Dragon Age II, the game is designed around a
party of four combatants, selected from among the many prospective companions you encounter. Hawke’s party
members are not just important during combat; they often have personal connections to the story and may ask
for Hawke’s help with quests of their own.
To change which party member you control, press the Q button or the E button (or both buttons together
to issue orders to all party members at once). You can change the composition of your party whenever Hawke
returns home or visits a companion at his or her home base.
CoMpanIonS’ HoMe baSeS
Once Hawke creates a new life in Kirkwall, each companion has a location in the city where they retreat when
Hawke doesn’t need them. Seek out these home bases and visit often—once Hawke’s companions are away
from the stress of battle, they are much more likely to relax and offer insights that they won’t share on the road.
These conversations may lead to new quest options or, for certain companions, the possibility of romance.
fRIenDSHIp anD RIValRy
Hawke’s companions have their own agendas and will react to major decisions. When they support
Hawke’s decisions, they move toward friendship; when they disagree, they move toward rivalry. Rivalry is
not necessarily bad; it still indicates that Hawke’s relationship with the companion is deepening, albeit in a
confrontational direction.
You can track a companion’s friendship or rivalry rating in his or her character record. When Hawke’s
relationship with the companion has progressed sufficiently along one path or the other, new conversations
become available in the companion’s home base in Kirkwall. Once Hawke attains complete friendship or rivalry
with a companion, a passive ability is unlocked in the companion’s personal school, and subsequent decisions
no longer sway the companion’s opinion of Hawke.
To grow into the legendary figure whose story Varric is telling, Hawke needs to become more powerful, learn
new abilities, acquire advanced equipment, and recruit experienced companions. Sure enough, a short time into
the family’s escape from Lothering, Hawke gains a level and can spend a few points on attributes and abilities
for the first time.
As Hawke recruits companions, they too progress in largely the same manner.
eXpeRIenCe anD leVelS
Experience points (XP) are awarded whenever Hawke completes a quest or finds a codex entry, anyone in
the party kills an enemy in combat, or a rogue in the party picks a lock or disarms a trap. Once Hawke or a
companion has the XP required to cross a certain threshold, the character gains a new level. Progress towards
that threshold is shown just below the current character’s name in the main interface and in the character
record screens.
With each new level, a character gains three attribute points and one ability point. At levels seven and 14,
Hawke alone gains a specialization point (see p. 12).
When a character levels up, you can spend the points yourself in the Attributes and Abilities screen.
Hawke begins with at least 10 points in each of the six attributes, which primarily determine prowess in
combat, both directly (more constitution means more health points) and indirectly (equipping heavy armor
requires great strength).
When you first see Hawke’s attribute scores, however, some will already exceed 10 because of the class
bonuses listed earlier. With each level, Hawke and other companions gain an additional three points to spend
on attributes.
Strength increases damage and attack values for warriors. For all classes, it increases fortitude, which
measures resistance to effects like being knocked back or set aflame.
Talents (for warriors and rogues) and spells (for mages) are special abilities that can be used in combat instead
of a basic attack. Talents or spells usually draw from the character’s pool of stamina or mana, although some
are passive, providing permanent advantages without stamina or mana expenditure. A character gains one point
to learn a talent or spell each level, as well as at a few other points in the game.
The character you control—whether Hawke or another companion that you have switched to—uses activated
abilities and sustained modes only when directed. Other characters in your party use their abilities whenever
appropriate, or when the conditional instructions you set up in the Combat Tactics screen tell them to (see p. 27).
When you have points to spend in the Abilities screen, only the abilities highlighted in blue are currently
available to learn. To unlock others, you need to meet the requirements listed in red by learning specific
prerequisite abilities or reaching a certain level.
Dexterity increases damage and attack values for rogues. For all classes, it increases the likelihood of landing
a critical hit.
Magic increases damage and attack values for mages. For all classes, it increases magic resistance, which
absorbs a proportion of damage from magical attacks and determines the duration of hostile magical effects.
Activated Abilities
Cunning increases defense for all classes as well as the amount of damage inflicted by a critical hit. Cunning
also determines a rogue’s aptitude for picking locks and disarming traps, with difficulty thresholds set at 10,
20, 30, and 40 points.
The most common talents or spells are those marked “activated,” indicated by a diamond icon. These abilities
vary widely—some are offensive strikes against one or more enemies, whereas others provide positive effects
to the character or other companions. Some activated abilities last for only a second, while others remain active
for a short time. Most incur an immediate cost in stamina or mana, and after you use a particular activated
ability, there is generally a short cooldown period before you can use it again.
Passive Abilities
Willpower increases the size of the mana pool for mages or the stamina pool for warriors and rogues.
Constitution increases maximum health for all classes.
Talents or spells marked “passive,” indicated by a circular icon, are permanent effects, although some only
apply in particular circumstances. They do not consume stamina or mana, and, because you don’t need to
activate them, they do not appear in your battle menu or radial menu. To review which passive abilities your
character has learned, take a look at the Abilities screen.
Sustained Modes
Once you use a talent or spell marked as a “sustained mode,” indicated by a hexagonal icon, it remains active
until you disable it. However, most sustained modes reserve a fixed percentage of the character’s mana or
stamina pool. That reserve is not available for other abilities to use until you deactivate the ability. After you
deactivate a sustained mode, there is generally a short cooldown period before you can use it again.
In each school of abilities, a number of small icons indicate possible upgrades to activated abilities or sustained
modes. These upgrades are not abilities in themselves but instead improve an existing ability. Although it may
seem as if an upgrade is less valuable than a completely new talent or spell, the size of a character’s mana or
stamina pool limits the number of abilities that can be used in a single battle. Upgrades can thus be much more
useful than yet another new ability. As well, only upgraded talents and spells can lead to cross-class combos
(see p. 24).
Dragon Age II offers four levels of combat difficulty, which can be changed at any time in the Gameplay Options
screen. Higher settings are meant not to punish, but to challenge you; with sufficient tactical planning and
careful management of each party member, even nightmare difficulty should be satisfying, not frustrating.
Specifically, each successive difficulty level increases enemies’ health, damage output, attack scores, and the
frequency with which they use special abilities.
Hawke can learn one specialization upon reaching level seven and another at level 14. Three specializations
are available for each class. Each grants a unique bonus and unlocks a new group of powerful talents or spells.
Hawke’s companions cannot learn specializations, but their personal ability schools include talents or spells that
are related to the same specializations available to Hawke.
The core combat mechanic in Dragon Age II is simple: a combatant’s attack percentage is the chance that a
basic attack will hit an opponent, whereas the combatant’s defense percentage is the chance to evade a basic
attack. (Special attacks like using an activated ability or throwing a bomb almost always hit.)
These percentages vary based on the opponent’s rank and level; the percentages you most often see are for a
normal-rank enemy of the same level as the character, but percentages against enemy lieutenants and bosses
are also available, as explained below.
Assuming the attack is successful, the target suffers a certain number of points of damage subtracted from
current health, after accounting for the target’s resistance to certain types of damage.
However, each of those statistics—attack, defense, and damage—can be modified by a number of additional
factors, as explained in the following pages. Talents, spells, status effects, high-quality equipment, and the
difficulty level can further alter most statistics.
Casual difficulty is best suited to players who are new to role-playing games or expect to play combat in
real-time, rather than pausing often to plan tactics.
Normal difficulty is the recommended setting for players familiar with role-playing games, providing a good
balance of challenge and survivability. It requires moderate use of tactical pausing to plan actions during
combat. You will generally only need to control your main character, and can allow the game to control
your companions.
Hard difficulty provides a considerably greater challenge than normal difficulty. To survive most fights, you
will need to make sophisticated use of tactical pausing as well as clever combinations of spells and talents,
controlling each of your party members in turn.
Nightmare difficulty is intended for tactical geniuses who found hard difficulty too easy. Aim carefully: At this
setting, errant spells and attacks will harm your allies as easily as your enemies.
Whenever a character takes damage, points are subtracted from a pool of total health points. Maximum health
is initially determined by the character’s class (see p. 6); it increases with each point spent on the constitution
attribute. Lost health regenerates slowly during combat but almost immediately after a fight. If you’re near
death, use a health potion or cast a healing spell.
Attack is usually represented as a percentage that indicates a character’s chance to hit an opponent with a
basic attack. This percentage is based on a flat attack score, which is visible alongside the percentage in the
Attributes screen.
For a given flat attack score, the percentage varies based on the level and rank of the opponent. The percentage
score that you see most often is calculated in comparison to a normal-rank enemy of the same level as the
character. To see a character’s attack percentage against enemy lieutenants or bosses, select ATTACK in the
Attributes screen and press the F button to view more details.
Because the attack percentage is calculated in comparison to an enemy of the same level as the character, the
percentage diminishes each level unless you spend points to improve it. This means that you must continually
invest in the strength attribute for warriors, magic for mages, and dexterity for rogues.
So long as at least one party member survives a fight, those who fell in combat revive themselves once all
enemies are dead—but they sustain injuries that reduce their health pool. At most difficulty settings, it is
possible for each character to sustain multiple cumulative injuries, which prevents them from fully healing
until the injuries are treated.
To remedy an injury, use an injury kit on the character. The party’s injuries are also automatically treated
whenever Hawke returns home.
Warriors and rogues draw from a pool of personal stamina to power many of their talents, and mages use
their mana for spells. (A few abilities, however, cost nothing to use.) Each class regenerates stamina or mana
differently: warriors replenish some stamina each time they kill an enemy, rogues regain a small amount
of stamina with each hit, and mages regenerate mana continuously. Certain spells and talents also allow
characters to regenerate mana or stamina.
Because mana and stamina are limited, talents and spells are special supplements to basic attacks, not the
focus of battle. The size of the stamina or mana pool is initially determined by the character’s class (see p. 5).
It increases with each point spent on the willpower attribute.
Arrows and crossbow bolts cannot penetrate obstacles like columns or trees. Although it is possible to target
and fire at opponents behind cover, the shots will not hit them, no matter how high the attack score is.
Defense represents a character’s ability to avoid attacks entirely. Defense works just like attack, as described
above, except that defense produces the opposite effect: with sufficient defense, attacks glance off harmlessly
or inflict minimal damage.
Defense, like attack, is usually represented as a percentage that varies based on the opponent’s rank and level.
Consequently, as characters increase in level, you must continually invest in the cunning attribute to keep their
defense score high.
elemental Damage
A few abilities and effects provide a percentage chance to dodge attacks. Dodging is similar to defense, except
that it is absolute. Whereas defense can be overcome with a high attack score, a chance to dodge applies
regardless of the aggressor’s attack score.
The damage inflicted by a basic attack is a combination of the weapon’s damage rating and the attacking
character’s primary attribute—strength for warriors, magic for mages, and dexterity for warriors.
However, while swings from a warrior’s weapon or shots from a rogue’s bow are very powerful, they are also
slow. By contrast, a rogue wielding two daggers may not cause much damage with each hit, but the strikes
come at blinding speed. These differences are why the Attributes and Inventory screens also indicate damage
per second (DPS) for the character’s equipped weapons.
Weapon damage is important even for characters who concentrate on using spells or talents because damage
inflicted by abilities is almost always a multiple of the character’s basic attack damage.
There are five types of elemental damage—fire, cold, electricity, nature, and spirit. Most offensive spells produce
one of the types of elemental damage, and some weapons inflict elemental damage instead of physical damage.
Weapons that have been enchanted by runes (see p. 30) may inflict several different types of damage simultaneously.
If you enable damage numbers in the Interface Options screen, you can identify different types of damage by the
color the text appears in:
Damage to your party is red, no matter the type
Physical damage is white
Fire damage is orange
Cold damage is blue
Electricity damage is yellow
Nature damage is medium green
Spirit damage is purple
Healing is bright green prefaced by a + symbol
elemental Resistances
Armor mitigates physical damage—if a character’s armor is rated at 10%, the character suffers 10% less
damage from physical attacks than they would otherwise. Like attack and defense, the armor percentage is
calculated relative to an opponent of the same level, so the percentage degrades if characters do not continually
find better armor.
Keep in mind that armor is completely ineffective against the different types of elemental damage, which are
instead counteracted by specific resistances.
Each type of elemental damage is counteracted by a specific resistance in the same way that armor counteracts
physical damage. For example, characters with 10% fire resistance suffer 10% less fire damage. As with armor,
party members’ elemental resistances change based on enemies’ rank and relative level.
If enemies have significant resistance to a certain type of damage, a small shield appears next to their name
whenever they’re hit by that element.
Information notification
Character taking damage (red fog)
Currently controlled character
Fallen character (p. 14)
Level-up notification (p. 9)
Character’s current action
Character’s health (p. 14)
Character’s stamina (warriors and rogues only; p. 14)
Character’s mana (mages only; white portion is reserved by
a sustained mode; p. 11)
Indication of cross-class combo effect (p. 24)
Ground ring to identify characters (if enabled in Gameplay
Options screen)
Current target’s name/health
Mini-map of area
Sustained modes affecting character
Battle menu with secondary shortcuts behind
primary shortcuts
Usable item and quantity in inventory (p. 28)
Activated ability with cooldown meter (diamond shape, p. 11)
Sustained mode currently active (hexagon shape, p. 11)
Buttons for battle-menu shortcuts
Current character’s XP (p. 9)
Magic Resistance
Force and Fortitude
Whenever an attack’s source is magical, the victim’s magic resistance score is added to their elemental or
physical resistance. Just like physical or elemental resistances, magic resistance counteracts a percentage
of the damage that an attack would have inflicted.
Magic resistance also reduces the duration of hostile magical effects on a character. Thus, with 20% magic
resistance and 10% fire resistance, a character would suffer 30% less damage from magical fire attacks,
20% less damage from magical cold attacks, and a magical paralysis effect would last for 20% less time.
Basic attacks and many spells or talents produce physical or elemental force. Every combatant has a specific
level of force they can withstand, based on fortitude, which is determined by a character’s strength attribute,
and maximum health, which is determined by the constitution attribute. When the force of an attack exceeds
what the combatant can withstand, physical force results in effects like knocking a character to the ground, and
elemental force results in effects like setting the character aflame. In one way or another, when combatants are
overcome by force, the effect interrupts their current attacks and may delay them from returning to combat for
up to a few seconds.
Spell and talent descriptions indicate elemental or physical force with numbers like 4x. That means the ability
produces four times as much force as it does damage. If the damage the ability inflicts is fairly small, then
4x force might not be a significant effect—perhaps only enough to push an enemy back for a second—but for
high-damage abilities, 4x force could easily knock an enemy completely down.
Damage Resistance
Just as magic resistance applies to all damage inflicted by magic, regardless of the elemental type, damage
resistance is a further layer of protection that applies to all damage of any type. For magical attacks, it is
cumulative with magic resistance and elemental resistance or armor; for non-magical attacks, it is cumulative
with just the basic damage resistance, which is usually armor.
Critical Hits
Every attack has a small possibility of generating a critical hit, as indicated by the critical chance percentage
shown on a character’s attributes screen. When the character does succeed in landing a critical hit, it inflicts
bonus damage beyond what a normal attack would produce, as indicated by the critical damage percentage
shown on the same screen.
You know you’ve landed a critical hit when you see an opponent’s health bar flash white.
An attacker is more likely to score a critical hit when striking anywhere at an opponent’s back half, including
hits that are just slightly past the opponent’s side. This is true for all combatants, so don’t let enemies get
behind your party members!
Enemy Ranks
As previously explained, some statistics like attack, defense, and armor percentages are displayed relative to
a normal-rank enemy of the same level as the character. There are five ranks of enemies, although these are
usually simplified to just normal foes, lieutenants, and bosses. The length of enemy health bars indicates their
relative threat—normal enemies have short health bars, lieutenants’ are somewhat longer, and bosses have
very long health bars.
Higher-ranked enemies gain several advantages. Notably, the party’s attack, defense, armor, and resistance
percentages are lower when fighting a lieutenant or boss than they are when fighting normal enemies. To see
the precise percentages, select one of those statistics in the Attributes screen and press the F button to view
more details.
Some spell or talent descriptions also list effect chances with the note “vs. normal enemy.” The likelihood of
applying those effects is much lower against a high-ranking enemy.
Dual Weapon
Enemies choose their targets based on which character they perceive to be the greatest threat. Each enemy
considers three factors—which character is wearing the heaviest armor, who has inflicted the most damage
to them personally, and which character is closest to them.
If enemies perpetually attack characters that cannot withstand direct assault, there are several spells and
talents that can help characters gain or lose threat so that enemies will switch to other targets. Stun effects
also cause enemies to forget their targets and choose anew.
Rogues who choose to fight at close range can wield a dagger in each hand. This is the fastest of the weapon
styles, more than making up for the relatively limited damage of each hit. In particular, because rogues regain
stamina with each strike, this weapon style ensures that the rogue’s energy reserves never stay depleted for
long. Talents in the dual-weapon school focus on inflicting large amounts of damage at optimal times.
Weapon Styles
Rogues who carry a bow can rain death from a great distance, keeping them relatively safe from enemy
retaliation and giving the party more flexibility in tactical positioning. Arrows impact with great power, but
the shots are much slower than a dual-weapon rogue can slash. When enemies come close, archers pull out
a hidden dagger, switching to a rapid slashing style in order to regain space to shoot. Talents in the archery
school allow the rogue to control specific parts of the battlefield, which widens the strategic possibilities of this
weapon style.
If Hawke is a warrior or rogue, a choice of weapon styles is available, with two options per class. Those weapon
styles determine the speed of attacks, how many foes a single strike can hit, and, in some cases, which talents
Hawke can use. (Mages’ staves perform double duty by firing magical bolts at long range and operating as
a melee weapon at short range.) Each of Hawke’s companions has already trained in their personal favorite
weapon style and thus cannot make this choice.
Two-Handed Weapon
Warriors who heft two-handed weapons attack relatively slowly, but hit every enemy in the front third of the
warrior’s personal space with a single swing. The two-handed school of weapon talents includes several attacks
that sweep through even wider areas of the battlefield.
Mage’s Staff
Mages always carry magical staves that they use to enhance their spellcasting, to hurl magical projectiles for
their basic attacks, and to defend themselves in melee combat. Unlike spells, the staff does not consume mana,
so a mage need not worry about being left defenseless. There is no particular school of spells dedicated to staff
combat; rather, the staff is an integral part of every school. Like archers, mages can strike out with the staff as a
melee weapon when enemies draw near.
Weapon and Shield
Warriors who opt for a one-handed weapon and a shield strike more quickly than two-handed warriors but
only hit enemies in the front quarter of their personal space instead of the front third. The shield increases the
warrior’s armor score, of course, and acts nearly like a weapon itself, battering foes who get too close, if the
warrior makes effective use of talents from the weapon and shield school.
Cross-Class Combos
Each class has a special status effect that can set up a cross-class combo, in which a character of one class
uses a talent or spell to hinder an enemy with the effect before a character of another class exploits it using
another talent or spell. This produces a tremendously powerful attack.
Warriors can STAGGER enemies using any of several upgraded talents from the Vanguard and Warmonger
schools. Mages can exploit STAGGER using upgraded spells from the Arcane or Primal schools, or rogues can
do so using upgraded talents from the Dual Weapon school.
Mages can make enemies BRITTLE using any of several upgraded spells from the Primal and Elemental schools.
Warriors can exploit BRITTLE using upgraded talents from the Two-Handed school, or rogues can do so using
upgraded talents from the Archery school.
Rogues can DISORIENT enemies using any of several upgraded talents from the Sabotage, Scoundrel, and
Archery schools. Warriors can exploit DISORIENT using upgraded talents from the Weapon and Shield school,
or mages can do so using upgraded spells from the Spirit school.
The STAGGER, BRITTLE, and DISORIENT effects are lost if the enemy suffers a cross-class combo. This means
that the additional benefits of those effects only apply before the combo is completed (see Status Effects).
Enemies that a rogue has DISORIENTED suffer a large penalty to defense. A warrior or mage can perform a
cross-class combo by using a talent or spell that has a damage bonus against DISORIENTED targets.
Enemies that a warrior has STAGGERED suffer penalties to both attack and defense. A rogue or mage can
perform a cross-class combo by using a talent or spell that has a damage bonus against STAGGERED targets.
Enemies that a mage has made BRITTLE suffer significantly more damage from all attacks. A rogue or warrior
can perform a cross-class combo by using a talent that has a damage bonus against BRITTLE targets.
Status Effects
Many talents, spells, and items produce effects beyond simple damage. Sometimes these effects are as simple
as knocking opponents to the ground, but the more complex effects described below persist for a time. All of
these effects apply to enemies, but only some can apply to Hawke’s party.
A confused enemy may attack its allies or make other irrational choices.
Dispel effects cancel persistent hostile magic, which usually means forcibly deactivating sustained modes. This
affects both magic that improves enemies’ combat capabilities and magic that hampers the dispeller’s allies.
Enslaved enemies fight as Hawke’s allies for the duration of the effect.
Obscure gives allies a partial veil from their foes. This results in a significantly greater chance of dodging
enemy attacks.
Silence prevents combatants from using spells or talents, although they can still move and execute
basic attacks.
Basic Tactics
Stealth prevents a combatant from being seen by enemies. Generally, stealth is lost as soon as the stealthed
character takes any action beyond moving. Stealthed characters can still be hit by attacks that affect a whole
area. If stealthed enemies take damage, they lose the stealth effect.
As your characters learn new spells and talents, the preset tactics (like Supporter, Damager, or Healer)
automatically populate with combinations of conditions and actions. For example, the Healer preset might
appear empty for Bethany at first, but tactics fill in automatically when she learns the Heal spell. Select a tactics
preset that corresponds to the sorts of actions you want the character to take. The more similar abilities that
character learns, the more tactics fill in.
These status effects all prohibit the affected combatant from taking any action, and they abort their current
actions. The visual effects are different, however. Stunned enemies also forget their current target; they choose
a new target (often the same as before) once they are no longer stunned. Sleeping enemies awaken as soon as
they suffer further damage.
Once you have the hang of basic combat strategy, you’re ready to build tactics that help the whole party
work together efficiently without needing constant direction. Although the Tactics screen looks complicated
at first, it’s built around one simple idea: if the first condition on the left side of the screen is true, execute
the corresponding action on the right side of the screen; if the condition is not true, check whether the next
condition is. You must always control the current character directly, but the other members of your party
follow whatever tactics you command.
The Behavior menu at the top of the Tactics screen controls the character’s general approach to combat, like
when to attack, what distance to try to keep from enemies, when to give chase, and when to switch between
ranged and melee weapons. Essentially, behaviors are generic reactions, whereas tactics are specific actions.
Press the F button while you have the Behavior menu selected to read a description of the current behavior.
Custom Tactics
You can also create your own customs sets of tactics, either by modifying the presets or starting from scratch
with the preset marked CUSTOM.
Let’s say you want to add a new tactic that tells Bethany to cast Fireball whenever she sees several enemies
in a small area. First, switch to Bethany, then select a condition slot on the left side of the screen and press
the S button. From the menu that appears, first select who you want the tactic to affect. For this condition,
we’re trying to scorch a number of enemies, so select ENEMY. Now another menu opens; select CLUSTERED,
then CLUSTERED WITH AT LEAST 2 ENEMIES. That’s your first condition: whenever three enemies are near
each other (one enemy plus two near it), the game sees that this condition is true and activates the
corresponding action.
Now you need to set up the action. Select the slot on the right side of the screen next to the condition you just
created and press the S button. Select USE ABILITY and then FIREBALL.
That’s it! Tactics always evaluate from the top down, so urgent requirements like healing should usually go at
the top. Move a tactic up or down by selecting the number in front of it and pressing the S button. Disable an
individual tactic by selecting the + symbol just after its number.
Tactics are particularly powerful when they help different party members support each other. For example, if
Bethany is in your party and knows a healing spell, tell her to monitor all of your party members simultaneously
and heal anyone in need. Since mages are weak in close combat, you can then direct a warrior to always attack
enemies who are targeting the mage (Enemy > Attacking Party Member > Attacking Bethany).
As your characters level up, you gain more condition/action slots on the screen, permitting more complicated
battle plans.
There are hundreds of unique items in Dragon Age II, corresponding to five major groups—equippable items like
weapons, armor, or accessories, usable items like health potions, runes that can enchant weapons or armor,
crafting items like recipes or resources, and plot items like keys or gifts for Hawke’s companions.
The inventory stores all of the usable and equippable items you purchase, find, or create through the crafting
system. (The recipes and resources required for crafting, however, are listed in the crafting screens, and plot
items do not appear in the inventory.)
To inspect an item, highlight it in the inventory and press the F button. This displays the item’s various
properties, which are explained throughout this manual. If a character has another item of the same type
equipped, you will see a side-by-side comparison.
To equip or unequip an item, highlight it in the inventory and press the S button. To use a usable item, press
the A button several times to return to the game itself and press the W button to open the radial menu.
From the radial menu, you can use items directly or map them to the battle menu just like a spell or talent.
The inventory displays between one and five stars next to each weapon, piece of armor, or accessory. These are
an approximation of the item’s usefulness relative to the character’s level and class. Two stars indicate basic
equipment for that level. As characters increase in level, the number of stars next to a given item will decrease,
suggesting that it is becoming less appropriate and should be replaced.
You can only carry so much equipment; once the inventory is full, you have to sell or destroy items before you
can pick up more. To increase the inventory capacity, purchase a backpack.
When you find an item in the inventory that you don’t think you’ll use, press the D button to send it to the junk
tab. Some items that have no use, only value, are moved to the junk tab as soon as you pick them up. Junk
items still count toward your inventory capacity, but when you visit a store, you can sell them all with a single
button-press. When you’re looking at the junk tab, you can also destroy items to free up inventory space by
pressing the D button.
Whenever an object in the world or an enemy corpse is shimmering, it contains items that you can pick up,
presuming you’re able to open the container and have space in your inventory. Many doors and chests are
locked when you find them. To open a lock, you either need a key—which doesn’t always exist—or a rogue to
pick the lock. All rogues are able to open simple locks, but more complex mechanisms require additional points
in the cunning attribute. At 20, 30, and 40 points of cunning, rogues become able to open more difficult types
of locks.
Certain combinations of items from the same set—usually bearing similar names—offer an extra bonus
when equipped simultaneously. When you receive an item-set bonus, an extra passive ability appears in the
character’s abilities screen. If you manage to find multiple sets of items that can be equipped simultaneously,
the bonuses are cumulative.
Equipment sometimes improves (or even diminishes) a character’s statistics. When inspecting an item in the
inventory, positive effects are colored green and negative effects are colored red. These bonuses or penalties
come into effect when you have the item equipped.
CoMpanIon aRMoR upgRaDeS
Although Hawke’s companions choose their own attire, a few improvements are available for their armor or
robes. When you find one of these upgrades, the companion applies it automatically. If you examine their armor
in the inventory afterwards, you see the upgrade listed in green.
High-quality weapons and armor can be improved by inscribing one or more lyrium runes on the item using
an enchanting apparatus. Runes are rarely found, but they can be created through crafting. Once a rune has
been inscribed, its properties are added to the item and it cannot be removed intact; applying another rune atop
it destroys the first rune. The effectiveness of a rune varies based on the quality of the weapon or armor it is
inscribed on, so save your best runes for your best equipment.
Skilled craftsmen are constantly looking for new varieties of the resources they use in their trades. If Hawke
discovers resources in the wild, along with a recipe for how to use those resources, craftsmen will happily
create usable items like potions, poisons, bombs, or runes in exchange for coin. After meeting a craftsman,
Hawke can also order items of that type from home.
The craftsmen manage collection of the resources once Hawke has found the initial supply, and, consequently,
the resources themselves are not lost when the craftsmen create items. But note that if Hawke doesn’t discover
a variety of a crafting resource, someone else is sure to find it. Undiscovered resources disappear as the years
roll by.
play onlIne
A PlayStation®Network account is required to play Dragon Age II online. You can set up a PlayStation®Network account in the System Software that appears when your PS3™
system is turned on without a disc inserted.
playIng onlIne
In order to access Dragon Age II online features, you must create a PlayStation®Network account by following
the on-screen instructions. If you already have a PlayStation®Network account, you are able to access online
features automatically.
playIng beHInD a fIReWall oR RouTeR
If you are having difficulty connecting online and your Internet connection is behind a router using NAT (Network
Address Translation), you can add the IP address of your PlayStation®3 system into the DMZ section of your
router—please consult your router help files for details on how to do this. For more information on firewalls, port
forwarding, and DMZs, please visit our online Support Center at:
Dragon age II Senior leadership
Executive Producer and Project Director: Mark Darrah
Lead Designer: Mike Laidlaw
Art Director: Matthew Goldman
Technical Director: Jacques Lebrun
Project Development Director: Alain Baxter
Technical Development Director: Adriana Lopez
Quality Assurance Lead: Nathan Frederick
Online Producer: Fernando Melo
Franchise Development Director: Benoit Houle
art and animation
Character Artists: Shane Hawco (Lead), Ben Carriere,
Leroy Chen, Jae Keum, Francis Lacuna
Cinematic Animators: Greg Lidstone (Lead), Carlos Arancibia,
Edward Beek, Tim Golem, Suhas Holla, Nathan Zufelt
Concept Artists: Ben Huen, Ville Kinnunen, Steve Klit,
Casper Konefal, Matt Rhodes, Ramil Sunga, Nick Thornborrow
Environment Artists: Ben McGrath (Lead),
Sheila Nash (Technical Lead), Casey Baldwin, Hayden Duvall,
Andrew Farrell, Rohan Knuckey, Boyd McKenzie,
Chris Ryzebol, Andre Santos, Lee Scheinbeim, Alex Scott
GUI Artists: Warren Heise (Lead), Tyler Lee
In-Game Animators: Clove Roy (Lead), Julio Alas,
Steve Gilmour, Marc Jarvis, Michael Milan, Cody Paulson,
John Santos
Technical Animators: Charles Looker (Lead), Kevin Ng,
Steve Runham
Technical Artists: Geordie Moffatt (Lead),
Yunus “Light” Balcioglu, Daniel Fedor, Suhwan Pak
Visual Effects Artists: Alim Chaarani (Lead), Jacky Xuan
Additional Art and Animation: Joy Ang, Heather Cerlan
(BioWare Mythic), Chad Emond, Harvey Fong, Trevor Gilday,
Lucas Hardi (BioWare Mythic), Sung Kim, Terrence Kim,
Tohan Kim (BioWare Mythic), Mikko Kinnunen, Nate LaMartina,
Tom Rhodes, Rion Swanson
Audio Designers: Michael Kent (Creative Lead),
Jeremie Voillot (Technical Lead), Matt Besler, Patrick Biason,
Steven Bigras, Real Cardinal, Terry Fairfield, Andrew Gray,
Joel Green, Jordan Ivey
Voice-Over Producer / Director: Caroline Livingstone
External Producer: John Campbell
Assistant External Producers: Susanne Hunka, Steve Lam
Localization Producer: Jenny McKearney
Localization Project Manager: Jason Barlow
Assistant Localization Project Manager: Melanie Faulknor
Localization Consultant: Fausto Ceccarelli
Voice-Over Quality Assurance: James Hamilton
Audio Programmers: Andrew Butcher, Carson Fee,
David Streat
Graphics Programmers: Andreas Papathanasis (Lead),
Chris Michael Smith, Cody Watts, Keith Yerex
Localization Programmers: Chris Christou, Andy Desplenter,
Christopher Mihalick
Programmers: Derek Beland (Lead Architect), Gavin Burt
(Gameplay Lead), Owen Borstad, Mark Brockington,
John Fedorkiw, Michael Hamilton, Sebastian Hanlon,
Yuri Leontiev, Christopher Kerr, Nicolas NgManSun,
David Robinson, Paul Roffel, Paul Schultz, Michael Webb,
Ross Gardner (Initial Technical Director)
Tools Programmers: Bryan Derksen, James Goldman,
Scott Meadows, David Mergele, Curtis Onuczko,
James Redford, Sydney Tang, Jon Thompson, Mika Uusnakki
Additional Programming: Devin Doucette, George Hornmoen,
Matt Peters, Henry Smith
Quality assurance
audio, localization,
and external Resources
Cinematic Designers: Jonathan Perry (Lead),
Vanessa Alvarado, Richard Boisvert, John Ebenger,
Ryan Ebenger, John Epler, Jonathan Epp, Frank Gordon,
Sarah Hayward, Samuel Irwin, James McVinnie
Gameplay Designers: Peter Thomas (Lead), Mark Acero,
Michael Liaw, Grant Mackay, Josh Stiksma
Level Designers: Yaron Jakobs (Lead), Mark Barazzuol,
Tony Evans, Craig Graff, Jason Hill, Kaelin Lavallee,
Tony Lynch, Cori May, David Sims, David Sitar, Keith Warner
Production Designers: Rob Bartel, Dan Lazin, Aidan Scanlan
Writers: David Gaider (Lead), Ferret Baudoin, Sheryl Chee,
Jennifer Brandes Hepler, Mary Kirby, Luke Kristjanson
Editors: Chris Corfe, Carlo Lynch, Karin Weekes
Additional Design: Noel Borstad, Tonia Laird,
Michelle Pettit-Mee, Catherine Walsh
Producers / Project Managers: Daniel De Freitas,
Derek French, Joshua Langley, Kevin Loh, Colleen Perman,
Nadia Phillipchuk, Heather Rabatich, Homan Sanaie,
Kyle Scott, Robyn Theberge
Additional Production: Randy Hildebrand
Analysts: Dieter Goetzinger (Technical Lead), Edward Pollard
(External Lead), Mark Ramsden (Design Lead), William Brewer
(Compliance Lead), Benjamin Blanchard, Andrew Gauthier,
Robert Girardin, Will Kuhn, Allan Schumacher, Allan Smith,
Bruce Venne, Mike Wellman, Stanley Woo
QA Programmers: Alex Lucas (Lead), Edward Bassett,
Jonathan Cooper, Dave Schaefer, Jay Zhou
Term Testers: Oliver Aguilar, Luke Barrett, Dave Berkes,
Robert Budac, Kai Chen, David Clifford, Gary Conrad,
Andrew Crowe, Kristin Czarny, Patrick Demkiw,
Chad De Wolfe, Dale Furutani, James Guindon,
Alan Hildebrandt, Patrick Irwin, Michael Ivey, Michael Lang,
James Leung, Catherine Lundgren, Isaac Matichuk,
Cody Ouimet, Corey Owens, Lee Panas, Celeste Phillips,
Steven Rideout, Tim Rideout, Joël Roy, Varden Schwake,
Emil Sofroniev, Colin Steedman, Devon Wetheral, Nathan Willis
Additional QA: Tracy Aguilar, David Chung, Matthew
Clarke, James Dang, Matthew Eades, Dave Gerhart, Bryan
Featherstone, Scott Horner, John Lacanlale, Matt Powell,
Jason Rasch, Corey Runnalls
Worldwide Director of Marketing: David S. Silverman
Senior Director of Marketing, Europe: Maria Sayans
Advertising: Dana Marineau, Dustin Shekell, Leslie Shinn
Online: Derek Larke (Manager), Jeff Marvin, Jesse Reid,
Jeff Rousell, “Evil” Chris Priestly, Victor Wachter
Product Management: Randall Bishop
Public Relations: Andrew Wong (Manager), Cindy Lum
Video: Neel Upadhye
Additional Marketing: Chase Boyajian, Michael Brogowitz,
Mark Edwards, Holden Hume, Keith Larson, Deeka Macdonald,
Lauren Siegel, Matthew Villeneuve
Studio leadership,
bioWare edmonton
Studio General Manager and Vice-President,
Electronic Arts: Aaryn Flynn
Senior Director, Creative Development: Alistair McNally
Senior Director, Development Operations: Shauna Perry
Senior Director, Finance: Kevin Gunderman
Senior Director, Operations: Vince Waldon
Senior Director, Business Planning and Development:
Richard Iwaniuk
Director of Human Resources: Mark Kluchky
Director of Programming: Daniel Martin
Quality Assurance Department Manager: Tulay Tetiker
Co-Director of Production: Duane Webb
Assistant Director of Art and Animation: Dean Andersen
Assistant Director of Design: Preston Watamaniuk
Assistant Director of Information Systems: Lee Evanochko
Senior Manager of Product Planning and Development:
Chris Bain
Executive Assistants: Teresa Meester, Greta Melinchuk
Administration: Keri Clark (Manager), Tricia Cameron,
Kris Donado, Amy Fraser, Raj Grewal, Nils Kuhnert,
Kirsten Mailhot, Jeanne-Marie Owens, Barbara Schmid
Finance Managers: David Conway, Vanessa Potter
Human Resources: Celia Arévalo (BioWare Edmonton),
Holly Bierbaum (BioWare Austin), Elisabeth Boehme (BioWare
Edmonton), Eve Brison (BioWare Mythic), Tammy Johnson
(BioWare Austin), Leanne Korotash (BioWare Edmonton),
Christopher Pangrass (BioWare Edmonton), Ashley Pierce
(BioWare Austin), Laura Sowder (BioWare Mythic)
Information Systems and Facilities
Jessica Chobot, Tom Cipolla (Senior Vice President, EA),
Felicia Day, Scott Forrest, Stacy Glass, Nelson Housden,
Jens Uwe Intat (Senior Vice President, EA), Thomas Kelty,
Pat LaBine, Brad Margolis, Kevin Martens, Steve Schnur
(Vice President EA), Todd Schull, Karl Smith, Nancy Smith
(Executive Vice President, EA), Iain Stevens-Guille,
Mac Walters, Colin Walmsley, Chris Zarmakoupis,
the rest of the BioWare teams in Edmonton, Austin,
Montreal, Fairfax, and Galway, and the rest of the team at
EAGL and EA. Thanks to all our families for your support!
Additional Voices: Jocelyn Ahlf, Robin Atkin Downes,
Rachel Atkins, April Banigan, Mark Bazeley, Riley Beach,
Oliver Bee, Tim Bentinck, Kate Binchy, Shannon Blanchet,
Kellie Bright, Lora Brovold, Charlie Cameron, Clinton Carew,
Óscar Castellanos, Tom Chadbon, Simon Chadwick,
Pandora Colin, Stephane Cornicard, Belinda Cornish,
Jon Curry, Daniel Curshen, Tim Dadabo, Shaun Dingwall,
Paul Morgan Donald, D.C. Douglas, Susan Duerden,
Greg Ellis, Keith Ferguson, Paul Fox, Héctor Garay,
Jesse Gervais, Jamie Glover, Christopher Godwin,
Zach Hanks, Jonathan Harden, Mark Healy, Lisa Hogg,
Stuart Hoye, Jessica Juffre, Corinne Kempa, Arlen Konopaki,
Adam Leadbeater, Mark Lewis Jones, Yuri Lowenthal,
Aoife McMahon, Mark Meer, Deborah Moore, Kate Mulgrew,
Natasha Napoleao, Chris Nayak, Alec Newman,
Mary Ann O’Donoghue, Nicole Papadopoulos, Olivia Poulet,
Miranda Raison, Alix Wilton Regan, David Rintoul,
Reece Ritchie, Christine Roberts, Mike Robertson,
David Rolston, John Rubinow, Dwight Schultz, Jason Singer,
David Sterne, Ronan Summers, Keith Szarabajka,
Louis Tamone, Fred Tatasciore, Emma Tate, Steve Valentine,
Jim Ward, Rick D. Wasserman, Timothy Watson, Danny Webb,
Douglas Weston, James Daniel Wilson, Stephanie Wolfe,
Scott Yakiwchuk, Fred Zbryski, Patricia Zentilli
Electronic Arts
Application Support: Julian Karst (Lead), Chris Hoban,
Robert McKenna
Desktop Support: Dave McGruther (Lead), Shane Gaudry,
Neal Gray, Jeff Mills, Brett Tollefson
Infrastructure: Craig Miller (Lead), Sam Decker, Wayne Mah
Facilities: Dean Crowell (Manager), Kelly Wambold
Additional Information Systems: Hanne Bjornstad
Special Thanks
Hawke: Jo Wyatt, Nicholas Boulton
Anders: Adam Howden
Aveline: Joanna Roth
Bethany: Rebekah Staton
Carver: Nico Lennon
Fenris: Gideon Emery
Isabela: Victoria Kruger
Meredith: Jean Gilpin
Merrill: Eve Myles
Varric: Brian Bloom
BioWare Group Leadership
Co-founder, BioWare / Group General Manager,
BioWare Group / Senior Vice President, EA: Dr. Ray Muzyka
Co-founder, BioWare / General Manager, BioWare Austin /
Vice President, EA: Dr. Greg Zeschuk
Group Operations Officer, BioWare Group / Vice President,
EA: Rob Denton
Group Marketing Officer, BioWare Group / Vice President,
EA: Patrick Buechner
Corporate Leadership
Chief Executive Officer: John Riccitiello
Chief Operating Officer: John Schappert
Chief Financial Officer and Executive Vice President:
Eric Brown
Executive Vice President, Business and Legal Affairs:
Joel Linzner
Executive Vice President, Human Resources:
Gabrielle Toledano
Vice President, Corporate Communications: Jeff Brown
EA Games Label Leadership
President: Frank Gibeau
Chief Operations Officer and Senior Vice President:
Bryan Neider
Chief Financial Officer and Vice President: Mike Williams
Chief Revenue Officer and Executive Vice President:
Jeff Karp
Chief Technology Officer and Vice President:
David O’Connor
Vice President, Human Resources: Mala Singh
Vice President, Public Relations: Tammy Schachter
International Project Managers: Cláudia Serafim,
Sebastian Sparr
Engineering: Antonio Moya (Project Lead),
Pedro Alfageme Langdon (Audio Lead),
Danilo “Warrior” Guerrero (Technical Lead),
Juan Serrano Yuste (Assistant Technical Lead),
Alberto Abad, Iván Arroyo, Francisco Retuerta De Lara,
Ricardo Espinosa Navarro, Alberto Marín Ibáñez,
Jose Pablo Hernández Cano, David Rodríguez,
Adolfo Fernández García
Coordination: Marcel Elsner, Marco Nicolino, Nadine Wagner
Mastering: Rubén Del Pozo Moreno, Tomas Pedreño
Recording: Bruno Dos Santos Pereira, Daniel Harty
Localization Testing: Hugo Rivalland (Project Manager),
Philippe “Ollas” Charel (Lead), Hélène Hiére (Lead),
Jordi Gallopin (French Lead), Robert Lévai (German Lead),
Cristian de Frassine (Italian Lead), Lukasz Srodka
(Polish Lead), Oleksandr Lebid (Russian Lead), Iñigo Luzuriaga
(Spanish Lead), Koroleva Anastasiya, Pierre Attali,
Anima Berriatua, Giulia Brusaferri, Ana Calvillo, Rita Miriam
Drago, Till Dzierzon, Sonja Engelhardt, Nacho Gaitan,
Holeneva Galina, Paolo Giunti, Michael Glutz, Izabela Godzic,
Dirk Kröll, Kamil “Cascador” Kurpios, Jalil Laalami Ouali,
Gilles Mathiaut, Matthieu Montpellier, Benoît Mora,
Sgibneva Natalia, Lyutfaliev Sarkhan, Angela Stockinger,
Jérémy Teyssier, Martin von Cetto, Alicja Warowna,
Angrit Wetzel, Aleksandra Zrebiec
Motion Capture
Studio Director: David Pierce
Post-Production Director: Mike Harrison
Production Manager: Brad Oleksy
CG Supervisor: Ryan Hietanen
Production: Blair Leckie (Lead), Dave Raposo (Lead),
Atlin Fraser, Vince Hung, Shelley Karakochuk, Vince Ng,
Derek Peristy, Ken Tsia, Greg Wellwood
Systems: Mike Iguidez, Nigel Nunn, Troy Thibodeau
Quality assurance
EA Canada: Matthew McGillivray (Lead), Aaron Adams,
Scott Balmer, Corey Bussey, Joel Cappelletto, David Coleman,
Toby Copithorne, Steve Coscarella, Jessica Docherty,
Alphonse Du, Timothy Duong, Steve Froste, Eric Hanna,
Dustin Harwood, Henry Huang, Aman Janjua,
Jennifer Jenkins, Rahim Kara, Darryl Liew, Daniel Man,
Seth Mayer, Kyle Parsons, Michael Rousseau, Ashton Tower,
Hugh Tran, Steve Waldman, Kristin Warren, Brandon Willett,
Jerry Wong, Trevor Wong
EA Hyderabad: Hemanth Reddy Battula,
Sravan Kumar Bommireddy, Murali Sridhar Chandanada,
Debanand Charchi, Naga Sai Harish Chavali,
Vikas Devarakonda, Pavan Kumar Gadepally,
Rama Naresh Gowrisetty, Sandeep Kumar Guttedar,
Bhanu Chander Kandi, Swarna Kumar Kasarla,
Kulwinder Kaur, Vikash Kumar, Shravan Kumar Sidigum,
Sneha Naveen Kumar Masabathulla, Abhishek Nag,
Bhargava Kartheek Padamati, Sreekanth Pratti,
Sri Harsha Pydi, Naga Vijaya Rao Sutari, Sudhakara
Vankayalapati, Sai Srujan Kumar Yadavally, Naveen Yamijala
eXTeRnal paRTneRS
art and animation
Character / Environment Art: Liquid Development LLC,
SperaSoft Inc., Ten Gun Design Inc.
Game Trailer: Digic Pictures
audio and localization
Geopolitical Evaluation: Englobe Inc.
Original Score: Inon Zur
Music Performance: Aubrey Ashburn, Chris Bleth,
The Lyris Quartet
Music Production and Recording: Penka Kouneva,
John Kurlander, Tim Loo, Idan Raichel, Assaf Rinde,
Noah Snyder, Paul Taylor
Translation: Albion Localisations (Poland),
Robert Böck (Germany), ExeQuo (France), ITI Ltd. (Russia),
Synthesis International S.r.l. (Italy and Spain),
Florian Vanino (Germany)
Voice-Over Direction: Phil Evans, Damien Goodwin,
Ginny McSwain
Voice-Over Post-Production: Wave Generation (Montreal),
Wolf Willow Sound (Edmonton)
Voice-Over Recording: Anakan GmbH (Germany),
ExeQuo (France), Pomann Sound (New York),
Rec Games Sonido (Madrid), Side UK (London),
Studiopolis (Los Angeles), Wolf Willow Sound (Edmonton)
Platform Optimization: Mesopotamia Software Inc.
Real-Time Rendering R&D: Jorge Jimenez,
Diego Gutierrez
“I’m Not Calling You a Liar (Dragon Age II – Varric’s Theme)”
Performed by Florence and the Machine
Produced by Inon Zur and Steve Schnur
Mixed by Jack Joseph Puig
Mastered by Bernie Grundman
Written by Florence Welch
Published by Goldzeal / Universal Polygram Int’l (ASCAP)
Recording courtesy of Island Records under license from
Universal Music Enterprises
you playeD THe gaMe. noW play THe MuSIC.
ea SounDTRaCkS anD RIngToneS
aVaIlable aT WWW.ea.CoM/eaTRaX/
lIMITeD 90-Day WaRRanTy
electronic arts limited Warranty
Electronic Arts warrants to the original purchaser of this product that the recording medium on which the software program(s) are recorded (the “Recording Medium”) and
the documentation that is included with this product (the “Manual”) are free from defects in materials and workmanship for a period of 90 days from the date of purchase.
If the Recording Medium or the Manual is found to be defective within 90 days from the date of purchase, Electronic Arts agrees to replace the Recording Medium or Manual
free of charge upon receipt of the Recording Medium or Manual at its service center, postage paid, with proof of purchase. This warranty is limited to the Recording Medium
containing the software program and the Manual that were originally provided by Electronic Arts. This warranty shall not be applicable and shall be void if, in the judgment of
Electronic Arts, the defect has arisen through abuse, mistreatment or neglect.
This limited warranty is in lieu of all other warranties, whether oral or written, express or implied, including any warranty of merchantability or fitness for a particular purpose,
and no other representation of any nature shall be binding on or obligate Electronic Arts. If any such warranties are incapable of exclusion, then such warranties applicable to
this product, including implied warranties of merchantability and fitness for a particular purpose, are limited to the 90-day period described above. In no event will Electronic
Arts be liable for any special, incidental, or consequential damages resulting from possession, use or malfunction of this Electronic Arts product, including damage to property,
and to the extent permitted by law, damages for personal injury, even if Electronic Arts has been advised of the possibility of such damages. Some states do not allow
limitation as to how long an implied warranty lasts and/or exclusions or limitation of incidental or consequential damages so the above limitations and/or exclusion of liability
may not apply to you. In such jurisdictions, the Electronic Arts’ liability shall be limited to the fullest extent permitted by law. This warranty gives you specific rights. You may
also have other rights that vary from state to state.
Returns Within the 90-Day Warranty period
Please return the product along with (1) a copy of the original sales receipt showing the date of purchase, (2) a brief description of the difficulty you are experiencing, and (3)
your name, address and phone number to the address below and Electronic Arts will mail a replacement Recording Medium and/or Manual to you. If the product was damaged
through misuse or accident, this 90-day warranty is rendered void and you will need to follow the instructions for returns after the 90-day warranty period. We strongly
recommend that you send your products using a traceable delivery method. Electronic Arts is not responsible for products not in its possession.
ea Warranty Information
If the defect in the Recording Medium or Manual resulted from abuse, mistreatment or neglect, or if the Recording Medium or Manual is found to be defective after 90 days
from the date of purchase, choose one of the following options to receive our replacement instructions:
Automated Warranty Information: You can contact our automated phone system 24 hours a day for any and all warranty questions:
US 1 (650) 628-1001
ea Warranty Mailing address
Electronic Arts Customer Warranty
9001 N I-35 Suite 110
Austin, TX 78753
Electronic Arts reserves the right to make improvements in the product described in this manual at anytime and without notice.
Technical Support Contact Info
E-mail and Website: For instant access to all of our technical support knowledge, please visit
Telephone Support: Technical Support is also available from 8am to 5pm PST by calling us at (650) 628-1001. No hints or codes are available from (650) 628-1001.
Mailing Address: Electronic Arts Technical Support
9001 N I-35 Suite 110
Austin, TX 78753
© 2011 Electronic Arts Inc. EA and EA logo are trademarks of Electronic Arts Inc. BioWare, BioWare logo, and Dragon Age are trademarks of EA International
(Studio and Publishing) Ltd. All other trademarks are the property of their respective owners.
Portions of this software are included under license © 2011 Scaleform Corporation. All rights reserved.
Powered by Wwise. © 2006–2011 Audiokinetic, Inc. All rights reserved.
Uses Bink Video. © 1997–2011 RAD Game Tools, Inc.
“PlayStation”, “DUALSHOCK” and “SIXAXIS” are registered trademarks and “PS3” and the PlayStation Network logo are trademarks of Sony Computer Entertainment Inc.
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