View manual text
TM
*Not Rated
FOR STRONG VIOLENCE
AND LANGUAGE
Program Content: © 1991 Dog Eat Dog Productions, Inc. All Rights Reserved. www.lionsgate.com
PFORDBUS03
ocs.com
http://www.replacementd
[NYSE: LGF]
PRESDBUS03
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SAFETY INFORMATION
ABOUT PHOTOSENSITIVE SEIZURES
A very small percentage of people may experience a seizure when exposed to certain
visual images, including flashing lights or patterns that may appear in video games.
Even people who have no history of seizures or epilepsy may have an undiagnosed
condition that can cause these “photosensitive epileptic seizures” while watching
video games.
These seizures may have a variety of symptoms including: lightheadedness, altered
vision, eye or face twitching, jerking or shaking of arms or legs, disorientation,
confusion, or momentary loss of awareness. Seizures may also cause loss of
consciousness or convulsions that can lead to injury from falling down or striking
nearby objects.
Immediately stop playing and consult a doctor if you experience any of these
symptoms. Parents should watch for or ask their children about the above symptoms
— children and teenagers are more likely than adults to experience these seizures.
The risk of photosensitive epileptic seizures may be reduced by sitting farther from
the television screen, using a smaller television screen, playing in a well-lit room,
and not playing when you are drowsy or fatigued.
If you or any of your relatives have a history of seizures or epilepsy, consult
a doctor before playing.
Other Important Health and Safety Information. The Xbox® Instruction Manual
contains important health and safety information that you should read and
understand before using this software.
AVOID DAMAGE TO YOUR TELEVISION
Do not use with certain televisions. Some televisions, especially front- or rearprojection types, can be damaged if any video games, including Xbox® games, are
played on them. Static images presented during the normal course of game play may
“burn in” to the screen, causing a permanent shadow of the static image to appear
at all times, even when video games are not being played. Similar damage may occur
from static images created when placing a video game on hold or pause. Consult
your television owner’s manual to determine if video games can be played safely
on your set. If you are unable to find this information in the owner’s manual, contact
your television dealer or the manufacturer to determine if video games can be played
on your set.
Unauthorized copying, reverse engineering, transmission, public performance, rental,
pay for play, or circumvention of copy protection is strictly prohibited.
TM
pro or psycho?
2
in-game controls
3
getting into the game
5
let’s go to work
7
game screen
10
pausing the action
11
driving screen
12
saving your progress
14
other characters
14
professional or psycho route?
16
credits
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?
sycho
p
r
o
pro
Page 2
ntrols
o
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e
in-gam
Six professionals have been brought together by
crime boss Joe Cabot and his son Nice Guy Eddie for
a heist at Karina’s Wholesale Diamonds.
They don’t know each other; they don’t want to
know each other.
Each man has a job to do and each has a colorcoded name to protect his identity: Mr. White, Mr.
Blonde, Mr. Brown, Mr. Orange, Mr. Blue and Mr.
Pink.
It’s the perfect setup — it’s planned to be
the perfect crime. The orders are simple: get in,
get the diamonds and then get out quick.
Two minutes max and away with the rocks that will
fetch big bucks.
But the heist goes wrong. Cops come out of nowhere
and all hell breaks loose. Alarms are triggered and
the cops are breathing down the team’s necks.
That’s when this game kicks off.
What happens next? Six professionals are out there,
on their own and put to the test. How do they
handle it? The cool Mr. Professional or loose-cannon
Mr. Psycho?
Now that’s your job to sort out.
MENU CONTROLS
Select option
Action / Confirm setting
Back
?/L
A
B
WEAPONS
Shoot*
Aim*
Lock-on target*
Reload
Zoom / Precise Target*
Sniper Rifle
Change weapon
Draw / Holster weapon
Pick up weapon
Drop shield
Bullet Festival
Signature Move* (requires Adrenaline)
r
R
l (pull and hold)
A
R (click)
R (click twice)
? 4/3
?1
A
B
b
b (with hostage only)
NOTE: Controls marked with an asterisk (*) will also work when you are holding a hostage.
2
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e gam
MOVING AROUND & COVER
Walk / Run forward / back*
Sidestep / Strafe left / right*
Roll
Crouch
Enter / Exit cover
Aim from cover (lean out)
Move around cover
to th
ting in
get
L 1/2
L 4/3
walk / run + X
L (click)
X (toggle)
L
X (hold) at edge of cover
TAKING CHARGE: HOSTAGES & STANDOFFS
Target person*
l
Herd target person*
l (pull and hold) + R
Look back*
b (hold)
Threaten (with gun)* / Neutralize*
Y
Order (e.g. “open safe”) / Disarm
Y
Take / Release hostage*
B (toggle)
Beat up hostage*
A
Knock out hostage*
A+r
Head Slam*
A when facing a wall or low horizontal surface.
DRIVING
Accelerate
Steer
Brake / Reverse
Handbrake
Speed Boost
Horn
Change view
Look behind
Move camera
Center camera behind car
Shoot
Lock-on target
Skip song
Pause
e
When the game first begins you can select from two on-screen options:
• Load Game Continue with a previously saved game. You will be taken
to the last saved checkpoint.
• New Game Begin a new game of RESERVOIR DOGS™. This takes you
to the Main Menu screen.
MAIN MENU
The Main Menu screen gives you options to:
• Play Start a new game of RESERVOIR DOGS™ from the beginning. Get your black suit
and shades ready — you will be thrown into the full game.
When you start a game from scratch you can select a difficulty level:
– Easy A more forgiving difficulty level and ideal for a rookie who can easily screw up
under pressure.
– Normal Requires more precision in aiming and shooting. If you get shot, those bullets
are gonna hurt a lot more.
• Select Chapter Choose a chapter to play from the 16 available missions in the game.
Scroll through the list with the L or ? and press A to select a chapter.
After you select a chapter, you will have the options to:
r
L 4/3
l
B
Y
L (click)
c (Chase / Extreme / Bumper)
b (hold)
R
R (click)
A
X
? 4/3
>
– Resume from Last Checkpoint Begin the chapter from your last saved checkpoint
(if any).
– Restart Chapter Play the chapter from the beginning.
• A Matter of Business Come here to brush up your skills in firing weapons, using cover,
controlling people (including cops) and taking hostages. Joe and the boys will guide you
through the basics and won’t mind you trying things over and over — they appreciate the
hard work that goes into making a professional. They don’t want you shot when you’ve got
a job to do for them.
• The Missions You can also select any of the other 15 chapters for a one-off blast of action.
Return here as often as you like for a dose of your favorite missions. These missions include
at least one of the team and sometimes, in the driving missions, several of them.
NOTE: Controls marked with an asterisk (*) will also work when you are holding a hostage.
4
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k
o wor
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let’s
• Options Provides a list of options for adjusting game settings, including:
– Controls Includes the following:
> Camera Sensitivity Set the sensitivity of the camera control ( R).
Set a level between minimum and maximum on the slider.
If you’re new to the game, then you’ve got to start somewhere. This is it.
• Select Play from the Main Menu.
After the opening titles you will go to the first chapter of RESERVOIR DOGS™, “A Matter
of Business,” the training session in Joe Cabot’s warehouse.
> Invert Vertical Axis Turn on/off.
> Invert Horizontal Axis Turn on/off.
> Hold Lock-on to Target Turn on/off.
> Controller Vibration Turn on/off.
> View Controls See a display of game controls.
– Display Set up display controls to suit your
monitor and personal preferences:
> Subtitles Turn on/off to display/hide
character speech on screen.
– Audio Use L or ? to adjust:
> Effects Volume Adjust the game’s
sound effects volume.
> Speech Volume Adjust the game’s
speech volume.
> Music Volume Adjust the game’s
music volume.
• Extras Check out bonus extras, including:
– Movie Viewer Watch the FMV movies
from the game. Scroll through the list
and play your favorites.
– Art Gallery View concept art you’ve
found while playing the game.
– Cheats See a list of cheats that you might
appreciate when you replay the game.
– Credits Look at a line-up of the people
responsible for getting RESERVOIR DOGS™
to you.
– Quit End the game.
6
TRAINING (A MATTER OF BUSINESS)
You might think you know it all, but there’s a lot to learn in a short space of time. This training
session is in five sections: Weapons, Cover, Crowd Control, Hostage-Taking and Neutralizing;
these are all key elements in the game.
Some controls will seem complex to start with but you’ve got to practice them ‘til they’re second
nature. Be cool. Take your time. Learn your lesson.
WEAPONS
The first training session explains all aspects
of weapons.
Your weapons and how you handle them are
key to your survival. You’ll get away with
a lot with accurate aim, straight shooting and
a quick reload. You do not have an unlimited
capacity to carry all the weapons you might
find, only a maximum of two handguns
and one machine gun/rifle or shotgun
(with suitable ammo).
NOTE: See WEAPONS controls, page 3.
WEAPON TYPES
RESERVOIR DOGS™ features an extensive range of different weapons: pistols, silenced
pistols, semi-automatic pistol, machine pistols (all of which can be carried and fired in both
hands at the same time); sub-machine guns, assault rifles, shotguns, sniper rifles and tranquilizer
rifles. All have varying degrees of effectiveness (fire rate, accuracy and damage) and ammo clip
size. Remember to use the right weapon for the right job; against armored SWAT team personnel
you might try to bring something a little more substantial than a pistol to the party.
The Training session lets you get used to firing pistols, a sub-machine gun, sniper rifle
and a shotgun.
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SIGNATURE MOVE
COVER
Joe and the boys will also teach you the importance of using movement and cover — all that
commando shit they talk about in cop school might save your sorry ass from getting shot up.
Remember that it’s not just you who’ll be using effective cover. Cops and SWAT teams are
trained in the same way and will also be in cover so you’ve got to use your brain (if you don’t
want to see it splattered over the floor). Outflank them, try a shot from the side or behind,
or a precise shot to the head.
NOTE: See MOVING AROUND & COVER controls, page 4.
CROWD CONTROL
In this part of the Training session you’ll learn the basics of controlling people. Ordinary people
will get in your way, raise the alarm or tell the police where you are
when you’re trying to get away. You’ve got to focus on key issues
and control them. Taking them out permanently is
an option. but that’s just more noise and alarm and if cops are
around they’ll hear you.
You’ve got to use good judgment: get the civilians safely
out of the way or put them somewhere where they can do you
no harm (neutralize them).
NOTE: See TAKING CHARGE: HOSTAGES & STANDOFFS
controls, page 4.
Each of the heist team has his own Signature Move. This can be quite persuasive against cops
or guards who won’t cooperate. This usually encourages most people, no matter how tough they
think they are, to cooperate. The others? Well, that’s for you to find out!
To perform a Signature Move, you must have a hostage and a full adrenaline bar.
• Take a hostage (hit B).
• Hit b.
KNOCKING OUT A HOSTAGE
Sometimes you’ll just want to silence a hostage you are holding.
• Hold A and pull r to knock the hostage unconscious.
BULLET FESTIVAL
If you’re high on adrenaline in any firefight you might enjoy
a few moments of Bullet Festival. This slows down the action
(in super slo-mo) and you can target an enemy, fire your
weapon and watch the bullets travel through the air
and pierce the target in a blood-splattering gore fest.
• Make sure you have a full Adrenaline Bar.
• Hit b.
USING HOSTAGES
If civilians are around, you might also think about using
them to your advantage. In this part of the Training
session you’ll learn the basics of hostage-taking and
how to use hostages: to help get you out of a tight spot
or to give you leverage to get others to do something
for you.
• Aim ( R).
• Fire a number of rounds (pull r).
• Watch the bullets hit the target.
The action will then return to normal.
Taking hostages isn’t just a matter of using “human
shields”; you’ve got to figure out how security guards
or cops will react when they see you threaten or rough up
an “innocent victim.” You’ll also find that you’ll get away
with a lot more by aggressive intimidation — waving a big
gun in the face of a security guard might just get you
through a locked door super fast.
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creen
s
e
m
ga
Target Cursor
1 TARGET CURSOR
2 HOSTAGE TOLERANCE METER
1
3 HEALTH METER
4 WEAPON(S) IN HAND
2
5 AMMO IN WEAPON / TOTAL AMMO
3
4
5
6 ADRENALINE
6
The Game Screen is generally left clear and uncluttered to let you concentrate on the action,
but some important stuff is shown that you should know about.
Health
The green meter shows the amount of current Health for your character in the mission. Keep
an eye on this — too low and he’ll never make it out of there alive. You can boost your Health
levels by using the Medical Boxes found in various places throughout the mission. Keep a look
out for them — they’re marked with a white border with a green cross — they might just make
the difference.
• Approach a Medical Box and press A when you see the prompt to add Health
on the meter.
Adrenaline
The Target Cursor will appear if you have a weapon in your hand. Use it to aim before pulling
the trigger. If you want a more precise aim, click R and the view will zoom-in. If you have
picked up a Sniper Rifle, click R twice to get a super accurate zoom-in shot. Click again
to toggle back to normal mode.
The Target Cursor will flash to indicate if you have targeted (locked-on) to a person (either to
shoot or to control by moving). The Target Cursor will disappear if you do not have a weapon
in hand but will reappear if you pull l (lock-on). Your weapon will then be placed in your
hand, ready for action.
Hostage Tolerance Meter
If you have a hostage, you will see the hostage’s current tolerance level on the red bar just
above your own Health level. The bar reduces when you do something with or to the hostage.
It is an indication of how far you can push before the hostage collapses/faints and becomes
useless to you.
End of Mission
You can also view a statistical breakdown of the mission summary. The ranking you get depends
on your performance:
• Time Taken
• Threats Neutralized
• Targets Hit
• Body Count
• Accuracy
• Unlockables
• Hostages Taken
The blue meter shows your character’s Adrenaline level. Adrenaline is boosted by killing
or neutralizing cops and civilians. A high Adrenaline level will also let you carry out your
character’s specialty Signature Move or give you a blast of Bullet Festival.
Weapon(s) in Hand
This icon shows the active weapon (or weapons) in hand. You can carry one large weapon
(such as a sub-machine gun or shotgun) and a maximum of two handguns (one in each hand).
If you are holding a grenade or shield it is also shown here.
• Disarms
• Shots Fired
g the
pausin
action
When a large weapon is holstered ( ? 1) it will be shown on the character’s back. To draw
a weapon, press ? 1 again.
It’s going to get hot in there when you’re in the thick of it and you’ll want to take a breather
at times. Even the toughest player wants an occasional break in the commotion.
To the right side of the weapon icon are two numbers. The top number is the total number of
bullets held in the current clip; the bottom number is the number of bullets you have in reserve.
When the top number reaches zero, the weapon is reloaded with the bullets taken from your
reserve (if available).
Pausing the game opens the Pause Menu with the following selections:
• Press > to pause the action at any point.
• Options Access the game options (see page 6).
• Restart Restart the current level.
• Save Save your current level.
• Quit Quit the current game.
10
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en
g scre
n
i
v
i
r
d
Mini-map
4
1 COMPASS
2 MINI MAP
1
2
5
3
6
A top down view of the route you are driving on the mission. Often there are several different
ways to get through to your objective. Keep an eye on the map — you might spot a shortcut.
3 YOUR CAR (RED) / OPPONENT CARS
• The compass needle shows where North (N) is located to help you orient your car.
4 TIMER
• Your car is shown as the red triangle.
5 DAMAGE GAUGE
• Other cars relevant to the mission are shown as yellow circles.
6 SPEEDOMETER
7 BOOST GAUGE
7
• Cops are shown as blue circles.
• The green arrow points in the direction you should be heading.
Toward the end of the mission, a green marker shows your destination. When you get there you
will see a green circle. Drive into the circle to end the mission.
Other Driving Screen Graphics
RESERVOIR DOGS™ features six driving missions that put a character from the team
behind the wheel of a car. The game screen you’ll see for Driving Missions is different
from the normal screen.
NOTE: See DRIVING controls, page 4.
Certain missions require extra HUD elements such as timers and additional Health gauges.
For example, in the mission where Mr. Orange is bleeding in the back of the car, an additional
Health meter appears on screen. Drive carefully with Mr. Orange, as collisions will cause him
to lose more blood.
Speedometer
Shows the speed of your car in miles per hour.
Damage Gauge
DRIVING TIPS
Lock-on and shoot while driving:
Shows your vehicle’s status. As the car takes more damage, this meter reduces.
• Press X to lock-on to the nearest target (car or person).
Timer
• Fire with A.
In timed missions, the timer will appear on the HUD. It flashes red when you run out of time.
BOOST GAUGE
Your car’s “Adrenaline” level. The following will cause the Boost Gauge to rise:
• Fast driving
• Performing handbrake turns
• Driving over jumps
• Near misses into oncoming traffic
• Crashing though gates or other barriers
• Narrowly missing pedestrians
A high Adrenaline level allows you to get a Speed Boost (hit Y when the Boost Gauge is
at least one-third full).
An erratic driving style will lead to loss of lock-on. A good lock-on for a prolonged period
of time will lead to a more accurate and damaging shot.
Precision Immobilization Technique (PIT)
The PIT or “fishtail” maneuver is very effective against cop cars.
• At speed, sideswipe the rear quarter of the target vehicle.
• The target vehicle should spin out, leaving you free to put your foot down.
The Boost
When you have a high Adrenaline level, press Y to kick off a Speed Boost. If you collide
with oncoming vehicles under boost, those vehicles will be destroyed. Any traffic going
in your direction will be shoved away with a greater force.
Driving Missions
At the end of a driving mission you will receive a mission summary with the following details:
• Time Taken
• Pedestrians Killed
• Max Speed
• Shots Fired
• Average Speed
• Accuracy
• Police Vehicles Destroyed
• PIT Maneuvers
• Civilian Vehicles Destroyed
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ogress
r
p
r
u
yo
saving
At the end of each level, or when you quit the game, you will have the chance to save your
current position in the game.
rs
aracte
h
c
r
e
oth
CIVILIANS
Civilians might seem like nobodies to you but they could make
the difference between you getting out of this mess or sinking
in the shit. Most times they’ll react the way you expect them to
(if you think about it long enough).
If a civilian sees you with a gun, that person is going to run —
and raise the alarm. It’s in your best interests to stop this from
happening — but how you do it is up to you. If you take the
professional approach (threatening), you’ll find that a civilian
can be moved around, ordered to unlock doors and
neutralized (made to kneel against a wall).
COPS
Cops will behave the way you’d expect them to. They’ll try and arrest you and if you resist,
they’ll open fire. Cops won’t respond to verbal threats alone, but if you rough up a hostage or
perform a Signature Move in front of the cops, it usually persuades them to drop their guns.
Disarmed cops will act in much the same way as a civilian. If you can neutralize them, they
shouldn’t bother you. Just be aware that if you suddenly decide to go psycho on them,
they won’t hesitate to break away and look for the nearest dropped weapon.
If you find yourself in a firefight, taking a hostage is a sure-fire way to calm things down —
and buy yourself some precious seconds. Just don’t take this as a license to start shooting
people without consequence, because it won’t be — cops will return fire.
And don’t assume that taking a hostage is a guarantee of avoiding getting shot.
Cops will try and flank you, and will fire at the first opportunity.
SECURITY GUARDS
Although security guards appear to behave exactly like cops, they are not as tough mentally
or physically. After all, what’s in it for them to be the big hero? If you have a hostage,
a simple threat will be enough to disarm a guard. From that point on, guards act exactly
like disarmed cops.
Neutralizing is the only safe way of preventing a civilian
from posing a threat. But be warned — if you start
shooting the place up, everyone is going to panic and run.
Every character has a “tolerance” level that will appear
when you take the person hostage. This level is
represented by a red bar that appears above your own
Health bar. The red bar diminishes when a hostage is
moved, threatened or beaten. If it empties completely,
the hostage will collapse and you’ll be left
completely exposed.
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e?
o rout
h
c
y
s
p
nal or
o
i
s
s
e
prof
At the end of each mission, you are rated on how you played through the chapter. The game also
gives you an overall rating as you progress through the story. Three main ratings are available:
Professional, Psycho and Career Criminal.
If you progress by mostly shooting and killing, you’ll end up with a Psycho rating. Conversely,
if you mostly threaten and neutralize, you’ll end up with a Professional rating. Engaging
in a combination of the two will yield a Career Criminal Rating.
The Driving sections are rated in a similar way. Causing damage and shooting will give you
a Psycho rating; driving fast and carefully will give you a Professional rating.
Two additional ratings can be achieved by playing exclusively as a Professional or Psycho:
Consummate Pro and Stone Cold Psycho.
s
credit
eidos u.k.
Senior Executive Producer
Simon Prytherch
QA Lead Technicians
Lawrence Day, Hugo Hirsh, William Wan
CEO
Jane Cavanagh
QA Technicians
Richard Abbott, Dom Andoh, Sam Beard,
Warren Beckett, David Klein, Andrae McKenzie,
Daniel Mills, Andrew Nicholas, Matthew Poon,
Zesh Sadique
Commercial Director
Bill Ennis
Financial Director
Rob Murphy
Company Secretary
Anthony Price
Head of European Publishing
Scott Dodkins
Product Acquisition Director
Ian Livingstone
Development Director
Darren Barnett
Development Manager
Grant Dean
Senior Producer
Pete Hickman
Assistant Producer
Luke Timms
Development Support
Louise Fisher
VP Licensing
Simon Hewitt
Creative Development Director
Patrick O’Luanaigh
Designer
Paul Wright
Head of Global Brand
Larry Sparks
Brand Director
Fabien Rossini
Brand Manager
Helen Lawson
Head of Support Services
Flavia Timiani
QA Manager
Marc Titheridge
QA Supervisor
Dave Isherwood
16
Mastering Supervisor
Jason Walker
Mastering Engineer
Ray Mullen
Senior Localisation Manager
Monica Dalla Valle
Localisation Manager
Jan Buchner
Localisation QA Supervisor
Arnaud Messager
Lead Localisation QA Technicians
Laure Diet, Augusto d’Apuzzo
Localisation QA Technicians
Curri Barceló, Edwige Béchet, Arianna Pizzi,
Laëtitia Wajnapel
Creative Manager
Quinton Luck
Senior Designer
Jodie Brock
Web Manager
Christophe Taddei
Lead Online Creative
Olaf Siebert
Senior Online Designer
Leigh Kirwan
Junior Coder Designer
Shane Auckland
Manual Support Services
Tom Waine
Manual Writer
Alkis Alkiviades
Special Thanks
A big thanks to all our European Marketing
and Sales teams as well as our Finance
Department who have done a wonderful job
to make this game happen — your tremendous
work is much appreciated
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volatile games
recorded, pr oduced, mixed & mastered by
Project Manager
Dave Manuel
Lead Driving Artist
Rupert Lewis Jones
Technical Manager
Tony Povey
Driving Artists
Malcolm Burke, Mike Procter, Simon Reed
Lead Animator, Jason Tassell
Creative Manager
Ian Pestridge
Animators
Paul Gartland, Gerald Udogaranya,
Peter Whiting, Alan Paul
Design Manager
Nick Adams
Run & Gun Designers
Benjamin M. Fisher, Bob Hands,
James Hargreaves, James Parker,
Lauren Grindrod, Simon Smith
Assistant Project Manager
Vicky Page
Assistant Technical Manager
Claude Dareau
Lead Driving Designer
Mark Digger
Assistant Creative Manager
Darren Nourish
Driving Designers
David Fewtrell, Aron Tomlin
Initial Pre-Dev Manager
Jon Cartwright
Programmers
Matt Hampton, Michael Higgs, Will Myles,
Tim Page, Phil Palmer, Nathan Pritchard,
Craig Rushforth, Johnny Trainor, Andrew Wallen,
Fred Williams, Toby Jones
Concept Artist
Stephen Baskerville
Lead Audio Designer
Rob Blake
Audio Designers
Todd Baker, Chris Hockey
QA Manager
Joe Lenton
QA
Daniel Brock, Duncan Fewkes, Lee Roberts,
Nick Scurr
Character Artists
Nadine Mathias, Rob Price
Run & Gun Artists
Auburn Hodgson, Sebastian Livall, Soo-Ling Lyle,
Wayne Peters, Chris Southall, Chris Brooker
lionsgate entertainment
Senior VP, Business & Legal Affairs
J. David Nonaka
Executive Director of Marketing
Chela Johnson
EVP of Marketing
Anne Parducci
Nimrod @ Nimrod Studios www.nimrodproductions.com
eidos u.s. publishing
CEO & President, Eidos North America
Bill Gardner
Web Producer
Roderick van Gelder
Executive Vice President of Sales & Marketing
Robert Lindsey
Web Designer
John Lerma
Vice President of Legal & Business Affairs
James O’Riordan
Media Manager
Micheal Tran
Vice President of Finance
Malcolm Dunne
Creative Director
Karl Stewart
Director of Marketing
Matt Gorman
Creative Services Project Manager
Eileen Buenviaje
Senior Product Manager
Kevin Gill
Graphic Designer
James Song
Director of Public Relations
Michelle Seebach Curran
Operations Manager
Gregory Wu
Senior Public Relations Manager
Oonagh Morgan
Publishing Support Coordinator
Clint Waasted
Public Relations Manager
Tali Fischer
Senior External Producer
Nick Goldsworthy
Senior Public Relations Specialist
Matt Dalghren
Associate Manager of Product Operations
Colby McCracken
Community Specialist
Tony Perata
QA/Customer Service Manager
Mark Cartwright
Events Specialist
Annie Meltzer
QA Supervisor
Aaron Safronoff
National Sales Manager
Joe Morici
Lead QA Technicians
Aaron Keillor, Joshua Pfeiffer
Channel Marketing Manager
Janty Sumimoto
QA Technicians
David Bushee, Nicholas Lutz, Stephen Cavoretto,
Nicholas Cooprider, Wilfredo Dimas,
Mackenzie Hume
Channel Marketing Project Manager
Diane Eng
Channel Marketing Coordinator
Rafal Dudziec
written by
Marc Canham, Richard Aitken, Edwin Scroggie
Sales & Marketing Analyst
Ilana Budanitsky
Special Thanks
Danny Jiang, Kevin Witte, Joe Bruce,
Joey Eustler, Rudy Hill, Sumer Thompson,
Mike Schmitt, Jeff Green, Patrick Laciste,
John Hayes, Hanshaw Ink & Image
Director of Marketing Communications
Stephanie Lipetzky
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5:30 PM
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Register online at www.eidosregistration.com
additional credits
Michael Madsen’s name, voice and likeness Licensed by Choctaw, Inc and Represented by Vicki Roberts,
Esq., www.restmycase.com™.
Additional music tracks courtesy of Nimrod Productions 2006 © 2006 Eidos.
RESERVOIR DOGS ™ interactive game, software and packaging © 2006 SCi Games Ltd. "Eidos" and the
Eidos logo are trademarks of Eidos Plc, Eidos Interactive Ltd and Eidos Inc. RESERVOIR DOGS ™ motion
picture © 1991 Dog Eat Dog Productions, Inc. LIONSGATE and the logo are trademarks of Lions Gate
Entertainment Inc. All rights reserved. All rights reserved. The rating icon is a registered trademark
of the Entertainment Software Association. Microsoft, Xbox and the Xbox logos are either registered
trademarks or trademarks of Microsoft Corporation in the U.S. and/or in other countries and are used
under license from Microsoft.
EIDOS, INC., LICENSE & LIMITED WARRANTY
Eidos, Inc., warrants to you, the original purchaser of this disc, that for a period of
ninety (90) days from the date of your purchase, this disc shall be free from defects
in materials and workmanship. If, at any time during the applicable ninety (90) day
warranty period you determine that this limited warranty has been breached, Eidos,
Inc., agrees, in its sole option, to repair or replace, free of charge, any such disc,
provided the disc is returned postage-paid to the Eidos, Inc., Factory Service Center
and a proof of date of purchase is included. This limited warranty is not applicable
to normal wear and tear and shall be void with respect to any defects that arise from
disc abuse, unreasonable use, mistreatment or neglect. This disc is sold “as is”
without any warranties of any kind, express or implied, including implied warranties
of merchantability or fitness for a particular purpose, other than the limited warranty
expressly stated above. No other claims arising out of your purchase and use of this
disc shall be binding on or obligate Eidos, Inc., in any manner. Eidos, Inc., will not be
liable to you for any losses or damages incurred for any reason as a result of your
use of this disc, including, but not limited to, any special, incidental, or
consequential damages resulting from your possession, use or malfunction of this
disc. This limited warranty states the entire obligation of Eidos, Inc., with respect to
the purchase of your disc. If any part of this limited warranty is determined to be
void or illegal, the remainder shall remain in full force and effect.
For warranty support please contact our Customer Support department at
(415) 615-6220. Our staff is available Monday through Friday, 9:00 a.m.
to 12:00 noon and 1:00 p.m. to 5:00 p.m. Pacific Time. You are responsible for all
toll charges. Customer Support Representatives will not provide game hints,
strategies or codes.
PRODUCT RETURN PROCEDURE
In the event our support agents determine that your game disc is defective, you will
need to forward material directly to us. Please include a brief letter explaining what
is enclosed and why you are sending it to us. The agent you speak with will give
you an authorization number that must be included and you will need to include
a daytime phone number so that we can contact you if necessary. Any materials
not containing this authorization number will be returned to you unprocessed
and unopened. Send your postage-paid package to the following address:
Eidos, Inc. Customer Services
RMA# (state your authorization number here)
651 Brannan Street, Suite 400
San Francisco, CA 94107
You are responsible for postage of your game to our service center.
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