BioWare took a massive risk with the sequel to Origins. They traded the sprawling, save-the-world epic for a claustrophobic, decade-long tragedy set in a single, crumbling city. It was divisive. People hated the recycled maps and the wave-based combat, but almost everyone agreed on one thing: the Dragon Age 2 characters felt more like a dysfunctional family than any other RPG party in history. They weren’t just "companions" following a chosen one. They were people with jobs, houses, and messy private lives that had absolutely nothing to do with you.
Honestly, that’s what makes them hold up so well even years later.
In most RPGs, your party members exist as extensions of the protagonist. In Dragon Age 2, Hawke is often just the person trying to keep everyone from killing each other—and failing miserably. Whether it’s Varric’s exaggerated storytelling or Anders’ slow descent into radicalization, these characters drive the plot instead of just reacting to it. They have agency. Sometimes, that agency leads to them betraying you in ways that actually hurt because you spent three in-game years buying them drinks at the Hanged Man.
The Varric Tethras Factor
You can't talk about this game without starting with Varric. He’s the narrator, the best friend, and the person who basically keeps the entire Kirkwall economy afloat with his "Hard in Hightown" royalties. Most fans consider him the heart of the series. Why? Because he’s the first companion who doesn't need you. He’s already got connections, wealth, and a very large crossbow named Bianca.
He’s the one who introduces the concept of the "Unreliable Narrator." The prologue of the game is a literal lie he’s telling to Cassandra Pentaghast, featuring a version of Hawke that is basically a god. This sets the tone for how we view all Dragon Age 2 characters. We aren't seeing them through an objective lens; we’re seeing them through the eyes of a friend who wants to protect them. This creates a layer of intimacy that Inquisition struggled to replicate.
Varric's relationship with Hawke is built on a "Bro" or "Sis" dynamic that feels earned. He’s the one who checks in on you after your mother dies. He’s the one who covers your tabs. In a city that is actively trying to eat you alive, Varric is the only constant. His loyalty isn't dependent on a moral alignment; it's based on the fact that you survived the Deep Roads together.
The Complexity of Anders and the Mage-Templar Conflict
Then there's Anders. If Varric is the heart, Anders is the ticking time bomb. Players who knew him from the Awakening expansion were shocked by his transformation. He went from a sarcastic, cat-loving apostate to a brooding revolutionary possessed by a spirit of Justice—which quickly turned into Vengeance.
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BioWare did something brave here. They took a "healer" archetype and made him the most dangerous person in the room. His writing is a masterclass in showing how trauma and oppression can warp a person's soul. You can try to guide him, you can romance him, but you cannot "fix" him. The game forces you to deal with his radicalization. When he finally blows up the Kirkwall Chantry, it isn't a plot twist for the sake of shock; it’s the inevitable result of ten years of systemic abuse by the Templars and his own internal struggle with Justice.
Some players find him annoying. I get it. He’s intense. But he represents the core thesis of the game: some problems don't have a "Golden Ending." You can’t talk everyone into being friends. Sometimes, the people you love do unforgivable things for reasons you actually understand.
The Rivalry System: A Design Stroke of Genius
One of the biggest misconceptions about Dragon Age 2 characters is that you have to make them like you to get their "best" ending. That's completely wrong. The Rivalry system is arguably the best mechanic BioWare ever invented, and it's a shame they dropped it.
- Friendship represents mutual agreement and support.
- Rivalry isn't "dislike"—it's a clash of ideologies based on mutual respect.
- You can romance a Rival. It’s actually some of the best writing in the game.
- A Rivaled companion doesn't leave; they stay because they want to prove you wrong or because they think you need their guidance.
Take Fenris, for example. He’s a former slave with lyrium-infused skin who absolutely loathes mages. If you play as a pro-mage Hawke, you’re going to rack up Rivalry points fast. But a Rivalry with Fenris doesn't mean he hates you. It means you’re challenging his world view. In the final battle, a high-Rivalry Fenris will still stand by your side against the templars because he respects your strength, even if he disagrees with your politics. It makes the relationships feel multidimensional. You aren't just a "Yes-Man" generator.
Isabella and the Concept of Selfishness
Isabela is another character who often gets boiled down to her "pirate" aesthetic, but she’s the anchor for the game’s second act. She is unapologetically selfish. In a genre where companions are usually "heroes," Isabela is just trying to survive and maybe have a little fun. Her decision to steal the Qunari Tome of Koslun is the catalyst for the Qunari invasion of Kirkwall.
If your relationship isn't strong enough, she leaves. She just bounces. That was a huge "wow" moment for players in 2011. Characters usually don't just abandon the protagonist during a crisis. But if you’ve built that bond, she comes back. She chooses to grow. It’s a subtle arc, but it’s one of the most rewarding because it isn't forced by the plot—it’s forced by your history with her.
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Why the Female Leads Outshine the Rest
Merrill and Aveline represent two extremes of the Kirkwall experience. Aveline Vallen is the law. She’s the Guard Captain who is just trying to maintain some semblance of order in a city of chaos. Her personal quests are hilarious—like when you have to help her "woo" Donnic because she has zero social skills—but they also ground the game. She’s the person who reminds you that people still have to live here after the dragons are slain.
On the flip side, you have Merrill. She’s a "Blood Mage," a term that usually denotes a villain in this universe. Yet, she’s the sweetest, most soft-spoken person in the party. She isn't evil; she’s desperate to preserve her people's history. Her story is a tragedy of good intentions. Watching her get exiled from her clan because she’s trying to "save" them is heartbreaking. It subverts the trope of the "innocent elf" and replaces it with someone who is willing to pay a terrible price for knowledge.
The Tragedy of the Hawke Family
We can't ignore the siblings. Depending on your class, either Carver or Bethany dies in the opening hour. The survivor then has their own path—becoming a Grey Warden, a Templar, or a Circle Mage. This isn't just flavor text. Having a sibling as one of the Dragon Age 2 characters makes the stakes personal. When the Templars threaten mages, they aren't just threatening "NPCs." They are threatening your sister. Or, if Carver becomes a Templar, you’re suddenly on opposite sides of a literal civil war.
It adds a layer of "home" to the game. You aren't just a wanderer. You’re a person with a mother, a house in Hightown, and a family legacy. When Leandra (your mother) is murdered by the serial killer Quentin, it’s one of the most soul-crushing moments in gaming because the game spent hours making you feel like a family again.
Why Kirkwall Matters for Character Growth
Kirkwall itself is basically a character. It's a "City of Chains." The architecture is designed to channel blood and suppress spirits. This environment grinds the characters down. You see them change over the three acts.
- Act 1: Everyone is just trying to make money and survive.
- Act 2: They are finding their footing and gaining influence.
- Act 3: The pressure of the city breaks them.
This progression is why the characters feel so "real." They don't stay static for 40 hours. They get older, they change their clothes (slightly), and their dialogue reflects the escalating tension.
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Realities of the Writing Process at BioWare
It’s worth noting that Dragon Age 2 was famously developed in only 14 to 16 months. Lead writer David Gaider and his team had to rely heavily on character dialogue because they didn't have the time to build new assets. This "limitation" ended up being the game's greatest strength. Because they couldn't show you new worlds, they had to make you care about the people standing next to you.
The banter system in this game is legendary. There are hours of recorded dialogue between companions that trigger as you walk through Lowtown. These aren't just jokes; they are evolving debates about philosophy, sex, religion, and the taste of the local ale.
Common Misconceptions
People often think Sebastian Vael is a "boring" DLC character. While he’s definitely more rigid than the others, he serves a vital role. He is the voice of the Chantry. Without him, the party is heavily skewed toward apostates and rebels. Sebastian provides the "Lawful Good" (sometimes Lawful Annoying) perspective that makes the conflict feel balanced. If you kill Anders, Sebastian is your greatest ally. If you let Anders live, Sebastian becomes a terrifying political enemy.
Another misconception is that the characters are "player-sexual" (meaning they are all bisexual just for the player's convenience). While most are romancable by any gender, Gaider has clarified that characters like Anders and Isabela have established histories that include multiple genders. They aren't changing for you; they are living their lives.
Actionable Insights for Your Next Playthrough
If you’re heading back to Kirkwall or playing for the first time, don't just play for the "Good" ending. Here is how to actually experience the depth of these characters:
- Lean into Rivalries. Don't be afraid to disagree with Fenris or Merrill. The scenes you get when you challenge them are often more powerful than the Friendship versions.
- Mix your party often. Don't just stick to one "meta" team. The banter between Aveline and Isabela is gold, but the tension between Fenris and Anders is where the world-building really happens.
- Bring siblings to the Deep Roads. If you want the most emotional weight, take your surviving sibling with you at the end of Act 1. Just make sure you bring Anders too, or things will end poorly.
- Pay attention to the time skips. After each Act, talk to everyone. Their lives move forward without you. They have new problems that have nothing to do with the main quest.
Ultimately, the characters are why we still talk about this game. They are flawed, stubborn, and often wrong. They aren't heroes in shining armor; they are refugees and outcasts trying to find a home in a city that doesn't want them. That's a story that never gets old.
For those looking to dive deeper into the lore, check out the Dragon Age: The World of Thedas books or the "Dragon Age: Blue Wraith" comics, which follow Fenris's story after the events of the game.