Making Dragon Age – From PAX South 2015

From PAX South, San Antonio, TX, January 2015

You’ve played the game, now see the panel. Learn what it takes to ship a modern AAA title along with some behind-the-scenes stories from the production process. Featuring creative director Mike Laidlaw, art director Matt Goldman, lead editor Karin Weekes, cinematic designer Frank Gordon, and Aidan Scanlan, BioWare’s director of writing and design.

Dragon Age: Inquisition Patch 4 notes


(Edit: This post was previously titled: “Dragon Age: Inquisition PC Patch 3 Notes.” The title and blog have been updated to reflect the release on consoles. The new across the board numbering is reflective of a previous hotfix that was applied on PC.)

In the current Patch 4 for Dragon Age: Inquisition, our primary focus was on fixing bugs, particularly ones that blocked progression or hampered the player experience.

Based on feedback from our players, we tweaked the banter system to be less random in order to prevent extra-long periods of silence. We fixed quest blockers in the personal quests of Dorian and Sera as well as a spawning issue in Solas’s personal quest (I won’t elaborate to avoid light spoilers).

We targeted several issues in multiplayer, fixing the vast majority of cases that caused keys to not drop, as well as fixing issues with the Reaver’s rampage ability. There were also some balance changes, including tweaks to the Demon Commander and the Strength of Spirits ability to make it more useful.

We added some much-requested features, including key binding that allows walking for PC and push-to-talk functionality in the multiplayer end of match summary and armor upgrade menus. We also added a new multiplayer Destruction route, and players can now challenge themselves in the fiery Elven Ruins.

You can find a comprehensive list of the upcoming fixes in Patch 4 below. We’ll release more information on patches in the future, so stay tuned for more updates.

We continue to listen to feedback from our players, and we thank everyone for working with us to create an even better Dragon Age experience.

For patch notes in other languages, click here 


Dragon Age™: Inquisition 1.04


From a development standpoint, Patch 4 was a small, bug-fix only patch to address some high-frequency issues affecting the majority of our players.


Added key binding that allows players to walk.

Added mouse cursor scaling.

Fixed issue that could result in the mouse getting stuck in mouse-look mode when players alt-tabbed out of the game in full-screen mode.

Fixed display bars to correctly reflect items that alter maximum health.


Changed party banter system to be less random to prevent extra-long periods where no conversations would occur.

Fixed issue that could result in one of Dorian’s conversations not being available for some players.

Fixed issue that could result in a cutscene not firing for Dorian’s plot when players enter the Gull and Lantern.

Fixed issue that could result in Sera’s Verchiel plot being broken.

Fixed issue with the demon that could spawn during Solas’s personal quest.

Changed Tactical Camera so that it no longer re-centers when the player changes party members.

Fixed exploit that allowed for infinite influence.

Fixed issue that allowed players to exploit their gold value in single-player mode.

Fixed allied mage AI so they did not dispel targets that the player had frozen.

Fixed issue that caused the bar displaying armor rating to not update correctly for crafted gear.

Fixed issue that caused extra potions granted by items to be lost when players return to Skyhold.

Fixed issue that caused Mind Blast’s upgrade, Fortifying Blast, to not provide additional barrier.

Fixed issue that could result in the opt-in conversation UI continuing to be displayed if players opted out very quickly as the UI was starting to be displayed.

Fixed issue that could result in the world map being permanently displayed in the Storm Coast.

Fixed issue that could result in being unable to switch party members after looting.

Fixed issue that could result in party members not following orders to revive a party member in Tactical Camera mode.

Fixed issue that could result in people being unable to discover all the regions in the Exalted Plains.

Fixed issue that could cause dragons to become unresponsive.

Fixed issue that would cause dragons to freeze during their roar.

Fixed issue that could cause some conversations to be “hitchy.”

Fixed issue that could cause Varric’s legs to do odd things in some opt-in conversations.

Fixed Masterwork Prowler Armor so it no longer distorts on certain characters.

Fixed issue that could cause Harmon to disappear in certain circumstances.

Fixed a few non-herb crafting materials that were showing up in the Herbs section of the inventory. They are now correctly in the Other section.


Enabled push-to-talk functionality in the multiplayer end of match screen.

Enabled push-to-talk in the multiplayer armor upgrade menu.

Fixed issue where changing multiplayer match settings would take effect without confirming changes.

Fixed issue that could result in players entering multiplayer matches without any mapped abilities in certain circumstances.

Fixed case that could cause keys to not drop in multiplayer mode.

Fixed issue that would cause the potion mapped to the first slot to also be used when pushing the 9 key in multiplayer mode.

Fixed issue that would cause the camera to spin at the end of a multiplayer match and not display the end of match screen.

Fixed issue in multiplayer mode that would result in the healing portion of Rampage to stop working in certain circumstances.

Tuned Strength of Spirits to be more useful in multiplayer mode.

Tweaked the balance of the Demon Commander in multiplayer mode.

Fixed issue that could result in items not displaying their cards when chests are opened in multiplayer mode.

Fixed issue that could cause pots to respawn in certain circumstances in multiplayer mode.






BioWare at PAX South

PAX_South_BlogWe’ll be heading down to PAX South this week, trading the northern cold for the much milder pastures of San Antonio.

If you’ve been to a PAX with us before, then you know we’ll be running a BioWare Base all weekend, where you can meet our developers and listen to them talk about making Dragon Age: Inquisition. We’re located in rooms 212AB on the concourse level of the Henry B. Gonzalez Convention Centre and are open from 10am-6pm Friday through Sunday, so drop in and say hello.

Be sure to attend our 2pm Saturday panel, where we’ll have some of the key Dragon Age developers, including creative director Mike Laidlaw and art director Matthew Goldman, talking about what it took to make 2014′s Game of the Year.

We’ll also be hosting a Cosplay Parade on Saturday at 4:30pm, which is by now one of our traditions at every PAX we go to. Stop in to show off your costume or just to cheer on some great cosplay.

Below you can find a complete schedule for the weekend. We hope to see you there!

BioWare Base, rooms 212AB, concourse level, Henry B. Gonzalez Convention Centre (open 10am-6pm)


Lining Up Your Lore (Panel + Q&A):
So you’ve created a fantasy world full of rich history and cultures, but how do you tie it all together? Learn how the world of Thedas came to be, and the steps we took to keep our stories straight.

Enter the Keep (Panel + Q&A):
Go behind the scenes with the Keep team. Discover how the Dragon Age Keep helps you shape your Dragon Age experience from Origins to Inquisition.

Dragon Age Developer Signing + Shirt Giveaway

It’s Dangerous to Go Alone: The Dragon Age Multiplayer Panel (Panel + Q&A):
Grab your friends, destroy your enemies. Get the inside scoop on Dragon Age multiplayer as well as some tips and tricks to get you to the top of the leaderboard.

Designing Dragon Age (Panel + Q&A):
It’s a magical world, so let’s get exploring. Find out more about how we built the vast world of Dragon Age: Inquisition and the work that went into bringing Thedas to life.

Dragon Age Developer Signing



Enter the Keep:
Go behind the scenes with the Keep team. Discover how the Dragon Age Keep helps you shape your Dragon Age experience from Origins to Inquisition.

It’s Dangerous to Go Alone: The Dragon Age Multiplayer Panel (Panel + Q&A):
Grab your friends, destroy your enemies. Get the inside scoop on Dragon Age multiplayer as well as some tips and tricks to get you to the top of the leaderboard.

Getting a Job in Games (Panel + Q&A): Find out more about what it takes to get a job at a AAA studio and what you can do if you’re looking to join our team.

Dragon Age Developer Signing

Making Dragon Age: Inquisition
(Panel + Q&A): You’ve played the game, now come see the panel. Learn what it takes to ship a modern AAA title along with some behind-the-scenes stories from the production process.

Dragon Age Developer Signing

Cosplay Parade
: Come show off your hard work and win prizes. All cosplay welcome.



It’s Dangerous to Go Alone: The Dragon Age Multiplayer Panel (Panel + Q&A):
Grab your friends, destroy your enemies. Get the inside scoop on Dragon Age multiplayer as well as some tips and tricks to get you to the top of the leaderboard.

The Art of Dragon Age (Panel + Q&A)
: From pencil to game, discover how our art team collaborates to create the people, places, and creatures of Dragon Age.

Portfolio Review

Working in Games
: Ever wondered what it’s like to work in the video-game industry? Come talk with our developers about what it’s like making games and the many different roles and disciplines in the field.

Past, Present, and Future: What’s Exciting in Games:
Sit down with some of our developers and chat about gaming. What are we playing? What do we love? And where is it all going?

4:00pm-5:30pm Writing Dragon Age: Inquisition: Our developers talk about writing a multi-award-winning game and the decisions and changes that happen along the way.

Dragon Age Developer Signing

Schedule may be subject to change

The Sound and the Fury: What we listened to while writing Dragon Age: Inquisition

ScreenshotWin32_0012_Final_WMIf you wandered into the Writer’s Pit while Inquisition was in full swing, you probably would’ve seen seven writers (and one editor) with headphones on, eyes fixed on monitors, typing furiously. Most of the writing happens when we can shut out the rest of the world and immerse ourselves fully in the story and characters. For many of us, this requires music. Often the music we listen to informs and even inspires what we write.

So, what was coming through those headphones when we wrote Dragon Age: Inquisition?


Sheryl Chee writer of Blackwall and Leliana

My characters’ voices don’t really establish themselves firmly until I’ve written one or two conversations for them. While I often have a good idea of their arc and personality, how they express themselves usually takes some poking around.

Music often helps get me into the right mindset, so when I set out in the early stages of planning and writing a character, I begin by building a playlist that evokes a certain mood. For instance, Leliana’s playlist is sweetly melancholic, with occasional moments of self-indulgent gloom and anger. Though it starts off with A Perfect Circle’s “The Noose,” it’s otherwise dominated by female voices like Suzanne Vega, Tori Amos, Anna Ternheim, Laura Veirs, Poe, and iamamiwhoami.

Blackwall was a bit of a special snowflake, and I ended up with two separate playlists by the time Inquisition reached its final stages. From the start I knew that I needed a classic rock playlist for a certain furious energy that I find reflected in songs by Cream, Rush, and Led Zeppelin. His second playlist, on the other hand, was extremely eclectic, running a gamut of genres from folksy Americana to electronica. These songs, chosen mainly for their lyrics, came from artists including The Civil Wars, Kate Bush, Grizzly Bear, and Blaqk Audio, and were used as inspiration for the writing of his personal story.

For wildernesses and codex entries, I would usually listen to whatever fit my mood at the time. However, generally the more work I had to get done and the less time I had to do it in, the louder and faster the music got. There was a phase when I was listening to nothing but electronic body music. Then there was the time I was writing combat barks for Multiplayer. That was done to “Timber,” by Pitbull and Ke$ha on repeat.

It got the job done.


Sylvia Feketekuty writer of Josephine

I often write without music at all, but sometimes I really need a track to keep my thoughts company. It often doesn’t have much bearing on what I’m writing—I mostly use whatever song is stuck in my head at the time, set it to repeat, and start writing.

When I’m in a good stretch the music gets zoned out and becomes part of my background thought process–something I don’t notice consciously, but would miss if it weren’t there. According to my DA:I playlist, the artists I listened to the most on the project were the Scissor Sisters and the Electric Six. That sounds about right.


Ben Gelinas editor for Sera, The Iron Bull, Blackwall, Varric, Leliana

I am many kinds of nerd. I have too many video games, I see too many movies, and I speak in dusty Simpsons quotes. But it’s the title of “music nerd” that I hold most dear. When I don’t have to think too much about the task at hand, I’ll listen to weird rap like Run the Jewels and Death Grips, weird hardcore bands like Converge and Daughters, and weird electro like FKA Twigs and Baths. But when I’m working with words I get very specific. Editing text—and I mean substantive edits, rather than the spelling, grammar, and consistency checks that come later—requires music that is both dramatic and blends into the background so I can concentrate on each line of dialogue I polish.

For Inquisition, I kept returning to a few key albums:

The Haxan Cloak’s Excavation is a dark, disturbing, and unpredictable ambient gem that proved a perfect soundtrack for the Fade.

Jon Hopkins’ Immunity and Kuedo’s Severant are lighter albums than the Haxan Cloak, and squeeze a surprising amount of emotion out of their entirely instrumental tracks. Both also thump along at a steady pace, keeping me motivated and focused.

Jonny Greenwood’s soundtrack to There Will Be Blood is beautiful stuff, but it sure is unsettling. It wasn’t right for Sera at all, but I listened to it a lot while working on “In Hushed Whispers.”

Joanna Newsom’s Ys is basically Ferelden in an album—and has some of the best lyrics ever put to music.

Chelsea Wolfe’s Pain is Beauty actually has a song called The Warden.

But the single track I listened to the most on this project was Eclipse/Blue by Nosaj Thing. The video was often on repeat for entire days of crunch edits because it’s just too pretty.


Brianne Battye writer of Cullen

I listen to music that I‘ve connected – sometimes tenuously – to the character or scene. Cullen’s playlist had a lot of songs that were calming, if at times somewhat melancholy. I had a fairly decent split between songs with lyrics – such as “Grey” by Dave Gunning, “Curse Me Good” by The Heavy, and “Falling Slowly” from Once – and instrumentals, such as Chris Tilton’s “Olivia” from the Fringe Season 3 soundtrack, Danny Elfman’s “In the Tub” from Big Fish, and Sam Hulick’s “We Fought as a United Galaxy” from Mass Effect 3. Sometimes I throw the playlist on and let it go. Other times, I need to listen to the same two or three songs on loop while working on a particular scene.

While writing content for the wilderness, my playlist was mostly instrumental and dependent on the area (open and awe-inspiring, dark and eerie, etc.). I did the same for codex entries.

Then there was one late night where I wrote combat barks while listening to Pharrell Williams’ “Happy” on loop. No idea why.


Patrick Weekes writer of The Iron Bull, Cole, and Solas

For most of my writing in wilderness areas, and for the Iron Bull, I stuck to movie soundtracks. I generally cannot handle writing to anything with lyrics, but it fades into comfortable mood music quickly enough for me that I could handle the same several albums and be fine. My general playlist for writing music is:

In order to write Cole, a character who is essentially a raw nerve of sensitivity, I wanted to get music that was, well, sad is the easy way to put it, but I also needed a certain level of bare honest emotion. And specifically, it had to be songs that felt sad to me. Many people suggested songs that were sad to them, or about sad topics, but they didn’t give me the right sort of feel.

For me, a good lonely piano with vocals kills me in a way other things can’t. And so what I ended up with was my list of “14 Feels-Inducing, Piano-Heavy Sarah McLachlan Songs.” I listened to these songs for the entirety of the time I was writing and revising Cole’s plot and character dialog. According to friends, writing Cole all day to this music apparently made me act strangely. I’m sure I was fine.

[Editor’s note: Because Patrick had explained his musical inspiration for Cole, I would also listen to Sarah McLachlan (all of her music on random, not just a select few songs) while editing him. There may have been days when I listened to ‘When She Loved Me’ over and over again. And wept.]

And finally, there was Solas. I used the general list for a lot of him, but his thoughtful voice needed something more in some parts. I did a lot of writing to the soundtrack to the movie “Once”, which captured the kind of melancholy wisdom Solas needed.

However, for a few specific parts, even that wasn’t quite right for me. When Solas talks about things that he saw in the Fade, things that speak to a distant past, I needed him to sound ever so slightly otherworldly and wistful – someone remembering a dream with a sense of both sadness and inevitability.

So I took k.d. lang’s cover of “Hallelujah”, and I wrote key scenes to that single song on loop.

If you follow that link and look at some of Solas’s lines, you may notice a familiar rhythm come out. It would have been forcing it to give lines the same rhyme scheme, but giving the words the meter captured some of that wistfulness and made Solas sound ever so slightly otherworldly:

At Haven:

“I’ve journeyed deep into the Fade in ancient ruins and battlefields to see the dreams of lost civilizations.

I’ve watched as hosts of spirits clash to reenact the bloody past in ancient wars both famous and forgotten.

Every great war has its heroes. I’m just curious what kind you’ll be.”

On very rare occasions, the player’s voice would actually play along with this:

Solas: The Chantry says that demons hate the natural world and seek to bring their chaos and destruction to the living.

Solas: But such simplistic labels misconstrue their motivations and, in so doing, do all a great disservice.

Solas: Spirits wish to join the living, and a demon is that wish gone wrong.

Player: Is there a way to coexist? To live with them, if not in peace, at least without such active confrontation?

Solas: Not in the world we know today. The Veil creates a barrier that makes true understanding most unlikely.

Solas: But the question is a good one, and it matters that you thought to ask.

(In the rare cases the player got into the same rhythm, there was always an approval bump from Solas. For that brief period, it was like the player was thinking like he did.)

I used this a few times over the game, and I love what it did to his voice. Also, Cori (who edited Solas) is exceedingly kind for putting up with my request that changes to those lines keep this surreptitious rhythm.

[Editor’s note: Yes, yes I am.]


Lukas Kristjanson, writer of Sera, In Your Heart Shall Burn, and countless Codex entries

There were moods to what I was writing, and at the highest level it was really about whether or not stuff was on fire – both thematically and/or due to deadlines.

Main story missions like In Your Heart Shall Burn always juggle heavy topics, but they are really about the player coming into their own – how is their strength growing or changing? Sacrifice/ascendance/wonder etc. Guitars and sudden silence. Stuff is on fire.

Sera is all about the energy of the moment. She’s frustrating and fun at the same time. You have to meet her at her level, not drag her to yours. Her music was loud, silly, and mean, except when suddenly sweet. Stuff may or may not be on fire, but odds are good it will be soon.

Skyhold and Val Royeaux are spaces where characters decompress. Relatively quiet but still epic in scope, these places are a nexus where the player’s efforts quietly weave through many background lives. There’s a ton of short stories about heroes, hope, and sadness in the codex entries and simple ambient pairings. Music was lighter with lots of variance, because it’s about individuals. Stuff is not on fire. The deadline is.

I tend to loop a single song until it’s almost white noise. I don’t switch around much, because for me, lyrics I’m not used to mess with the rhythm of dialogue. Yet I don’t go to instrumentals. Go figure. The songs below drifted to the top of my playlist by the end of the project, more or less. It isn’t much of a mix, because each song was played dozens of times – hundreds over the development cycle. That probably says more about my mental process during crunch than it does about any one moment.

I also pulled the soundtrack from our Leliana’s Song DLC. A different flavor of DA that is fun to visit.


David Gaider, writer of Dorian, Cassandra, and much of the main plot

I’m not sure I could give an answer as complex as Luke does – when I’m writing I only listen to music on occasion, and when I do I’m not that picky about it. I have two playlists: my Classical playlist for when I’m writing complex dialogue (which is mostly Chopin, but has some other orchestral pieces in there) and my Dance playlist for when I’m writing action scenes (anything with a beat will do, and I’m not about to name the tunes).

Aaaand that’s about it.


Karin Weekes, editor of Cassandra, Josephine, and much of the main plot

When I edit dialogue, I can’t listen to music with words, so I have a couple classical/movie score playlists.

For general editing, I listen to things like Ferde Grofé’s Grand Canyon and Mississippi Suites, a bunch of John Williams (Star Wars, Jurassic Park, Harry Potter, etc.), Carter Burwell’s score from Rob Roy, and various Celtic songs.

For Dragon Age, there was Rob Roy, Klaus Badelt’s Pirates of the Carribean score, Ramin Djawadi’s Game of Thrones Score, and Hans Zimmer’s Hunt for Red October score.

When I’m not editing dialogue and can listen to music with words, my love of all kinds of music takes over. Random songs on my main playlist include:

Then, I have my Very Special Working Late playlist for when it’s late at night and I feel myself lagging. I’ll crank up the ABBA and start a Twitter “sing-along” (Shout-out to all my fellow #DancingQueens!). I won’t list songs; it’s pretty much ALL the ABBA.


Cori May editor of Cole, Cullen, Solas, and Dorian, and Vivienne’s caretaker

When I’m editing dialogue, I say every word out loud in order to get a sense of the voice and character, to make sure the line flows. I can’t listen to music while I’m doing that (except for Cole, as noted above). I even try to get the accent right whenever possible. I’ve tried desperately to pick up a Welsh accent (it’s the most beautiful voice in the world) and can’t, but I do a mean Morrigan (and really, is there any other kind?) and a passable Vivienne.


Mary Kirby, writer of Vivienne, Varric, and In Hushed Whispers

I have to match my music to the character, plot, and scene I’m writing.

Vivienne’s playlist was heavily instrumental. She had a lot of music from the soundtracks of Inception, Cloud Atlas, and Doctor Who, lightly seasoned with Lorde’s version of “Everybody Wants to Rule the World,” because why not.

Varric got a lot of soulful strings and alternative. And words. Tracy Chapman, Don Henley, Pearl Jam, Radical Face. If someone has written a top 40 song about being regretful and/or lying, it is probably on that playlist somewhere.

When I worked on the plot “In Hushed Whispers,” I listened to a lot of Gershwin. I am not sure what that says about Alexius. “Wicked Eyes and Wicked Hearts,” and I guess just Orlais in general, required Cellos, so I put 2CELLOS album on repeat. Gaspard got “Smooth Criminal.” Celene got “With or Without You,” and Briala got “Use Somebody.” I am not actually sure why.

Dragon Age: Inquisition – Patch 2 Notes

For patch notes in other languages, click here

From Pat LaBine, producer for Dragon Age: Inquisition

We have a patch for PC, Ps3, Ps4, and Xbox 360 coming out today to address some of the issues players have been having. Here’s a list of the upcoming changes:

Release date: December 9, 2014


  • Fixed case where game would incorrectly think the player has more than one race/class/gender
  • Fixed case where users who changed their voice off of default, would have their voice set back to default when interacting with Hawke’s chargen settings.
  • Increased duration that search highlights things, and added highlighted items to radar while they are highlighted.
  • Fixed several conversation lines which would take a very long time to advance to the next line unless they were manually skipped.
  • Fixed case where followers could float above the ground after extended periods of play
  • [PC] Fixed some hitching in conversations.
  • [PC] Pressing the interact key (default “F”) will take everything from containers.
  • [PC] Hair should be less shiny on lower quality settings.
  • [PC] Added ability to rotate character models with the mouse in UI’s that show character models
  • [PC] Added an option to enable / disable tactical camera on mouse wheel scroll out.
  • [PC] Hiding the HUD on the PC will now hide all UI elements
  • [PC] Fixed being able to drag abilities from a tree that was not selected onto the quickbar
  • [PC] Fixed being able to toggle UI state for the tactical camera on the quickbar when the tactical camera is unusable
  • [PC] Fixed case where clicking quickbar elements in Eyefinity would trigger attacks
  • [PC] fixed case where extra mouse-up events were triggering in UIs
  • [PC] Fixed issue where mouse-up events were missed when dragging off of UI elements and then releasing the mouse button
  • [PC] Fixed loading Icon not animating while Mantle creates shaders during load screens.
  • [PC] Fixed mouse cursor flashing while targeting AOEs
  • [PC] Fixed situation that could result in a hang on the start menu.
  • [PC] Fixed situation where war table could become non-interactive until users right clicked on it.
  • [PC] Fixed situation which could cause mouse-look to snap to a facing rather than turning smoothly
  • [PC] Holding right click and pressing the camera turn buttons in tactical camera will cause the cursor to strafe in the same manner the camera behaves outside tactical camera
  • [PC] Made some changes that should improve Mantle performance
  • [PC] quickbar indicator for pause state should no longer remain highlighted when game is not paused
  • [PS3] Increased number of save slots to 30
  • [PS4] Improved conversation performance during fast install
  • [PS4] Increased number of save slots to 50
  • [360] Fixed case where movies sometimes decoded incorrectly
  • [360] Fixed Crash when selecting storage device when select storage device warning is present
  • [360] Fixed the online connection error being displayed twice when attempting to login to Origin with no Xbox live connection.
  • Assorted stability improvements
  • Fixed crash that could occur after some conversations
  • Certain boss creatures are now immune to Disruption Field
  • Creatures in rag doll will now pause when the game is paused
  • Fix to Spirit Blade so it no longer triggers combos
  • Fixed a couple focus abilities to be weapon agnostic
  • Fixed a few DA Keep world state import reactivity checks.
  • Fixed a few situations that could result in there being no conversation selection indicator during conversations
  • Fixed an issue caused by changing characters at the same as targeting an AOE ability
  • Fixed Audio cutting out when using AOE abilities while radial menu is open.
  • Fixed being unable to finish quest “Safe Keeping” if the user places key fragments in the forger, then leaves the zone without getting the finished key.
  • Fixed camera shaking when making small camera adjustments during character creation
  • Fixed case where blizzard would pause the game when it turns off
  • Fixed case where controller rumble would get permanently disabled
  • Fixed case where Imshael could end up in a location where players could not fight him.
  • Fixed case where interaction text would not update in tactical camera
  • Fixed case where mana or stamina was incorrectly displayed on mounted character’s portraits
  • Fixed case where users could get stuck loading a save in a certain dragon combat area
  • Fixed case where users could get stuck on an infinite “Connecting to Dragon Age Servers”
  • Fixed Crippling Blows to have a 15% damage bonus instead of .15%
  • Fixed Cullen’s hair having some strange shadows during cinematics
  • Fixed exploit that would allow bypassing ability cool-downs in certain circumstances
  • Fixed exploit that would allow users to take no damage.
  • Fixed issue where orders to interact with trebuchets made in tactical mode were un-interruptable.
  • Fixed issue where user loses control of the party if he enters tactical camera at the same time as a cinematic triggers
  • Fixed issue which could cause potion counts to be reset due to party member changes.
  • Fixed issue which could result in an infinite “Connecting to Dragon Age Servers” on the main menu.
  • Fixed issue which could result in the Radial menu not staying open
  • Fixed issue which could result in the screen re-sizing UI to stop working until exiting and re-entering the screen re-sizing UI.
  • Fixed scripted autosave in the western approach which was made which if loaded could result in certain NPCs to not show up until after leaving the area and coming back.
  • Fixed situation where followers could get stuck while pathfinding to the player.
  • Fixed some of the collectible books being non-interactive in Skyhold
  • Fixed slot types on several crafted items
  • Fixed some item names getting cut off in stores
  • Fixed weapon type on several crafted weapon parts.
  • Ground rings scale on Dragons in Tactical Camera
  • Radar will be shown during radar tutorial, even if the UI is set to be hidden
  • Radar will show way points immediately after coming out of UIs, no longer requires player to move first.
  • Target lock is cleared when entering tactical mode.
  • Unified sort order for stat listings during item modification



  • [PC] Improved push-to-talk functionality when using keyboard and mouse
  • Fixed issue which could result in negative XP being granted in some multiplayer matches
  • Fixed crash that could occur while switching characters in some multiplayer menus
  • Cursed chests in multiplayer no longer look different from un-cursed ones
  • Fixed some missing information on end of match screens when servers are slow in Multiplayer.
  • Fixed Players losing their ability to target when dying while recovering object in multiplayer
  • Fixed situation where host migration after end of match would fail to show end of match details for the remaining players
  • Fixed issue with players being interrupted while interacting with objects in Multiplayer
  • Fixed issue where host can be returned to an empty lobby after quitting out of a match while in the operation failed state
  • Improved appearance of ledge drop-downs in multiplayer.
  • Fixed case which could cause keys to not drop in Multiplayer
  • Fixed case in Multiplayer where players could attempt to use abilities while dead.