{"id":101041,"date":"2011-03-22T15:00:00","date_gmt":"2011-03-22T19:00:00","guid":{"rendered":"https:\/\/jbsgame.com\/review-dragon-age-ii\/"},"modified":"2011-03-22T15:00:00","modified_gmt":"2011-03-22T19:00:00","slug":"review-dragon-age-ii","status":"publish","type":"eg_reviews","link":"https:\/\/jbsgame.com\/reviews\/review-dragon-age-ii\/","title":{"rendered":"Review: Dragon Age II"},"content":{"rendered":"
Marian Hawke — refugee of Lothering, Champion of Kirkwall — is a liar, a thief, and a murderer, a political sellsword for the powerbrokers of the Free Marches. Most Kirkwallers assume she is a lesbian after a brief affair with Isabella, a Rivaini pirate, but they do not know that she tried (and failed) to seduce a Tevinter slave elf named Fenris. As a rogue, Hawke’s particularly gruesome specialty is stabbing enemies in the back so hard they explode.<\/p>
While Marian Hawke’s body count is staggering, she is decidedly non-violent when circumstances allow it, which is unfortunately rare. And despite her sordid (and rightfully deserved) reputation, she has something of moral code, however flimsy — she doesn’t tolerate slavery and is sympathetic to mages.<\/p>
She is also a compulsive hoarder, stashing away rare and valuable weapons and armor like a bloodthirsty magpie. In normal circumstances, she would lend this equipment to her colorful friends — a dwarven businessman, the captain of the City Guard, several apostate mages and maleficar — but they choose not to accept her generosity.<\/p>
This is Marian Hawke, the sultry protagonist of my playthrough of BioWare’s Dragon Age II<\/i>.<\/p>
<\/p>
Dragon Age II<\/i><\/a> (Xbox 360 [reviewed], PlayStation 3, PC<\/a>) Hawke-as-political-assassin is a fun role to play, undoubtedly, but Dragon Age II<\/i>‘s scope is narrow — without a Blight from which Thedas needs saving, Hawke needs an excuse to kill people and professional ne’er-do-well is as good a choice as any. <\/p> Given its frame narrative — you play the story as told by Varric, a dwarven merchant being interrogated by a Chantry seeker — DAII<\/i> seems obsessed with player choice even while it stifles it at most major plot points. The dialogue in the game is notably heavy on phrases like, “I don’t really have a choice, do I?” — a fourth-wall-breaking question for any game protagonist. There’s the temptation to interpret Hawke’s trials as one version of events that no one in Thedas seems clear on, to imagine that there is an externally “true” version of Hawke that may or may have done the things I did, but Dragon Age II<\/i> never feels cheap or disingenuous. Abrupt and unfocused are better adjectives, but I never felt like I’d been lied to or manipulated.<\/p> And despite the frame narrative and the premise — Hawke’s mysterious rise to power — she is rarely the agent of change in Kirkwall. She is simply in the right place at the right time and knows how to stab people until they explode, a useful skill in a town beset by religious fanaticism, terrorism, minority oppression, poverty, racism, and xenophobia. Lead writer David Gaider treats his subjects with the respect they deserve, giving Hawke the freedom to be as hard-nosed or relativistic as she needs, a useful outlet for my own helpless liberalism.<\/p> While Gaider tips his hand in a few situations, Hawke is generally free to make her own choices, most often in response to<\/i> — as opposed to as the agent of<\/i> — change in her city. But because she doesn’t drive the narrative forward, the player is left to fill in her motivations. In Origins<\/i>, finding a reason to act was easy — because if you didn’t, everyone would die — but DAII<\/i> demands a more actively engaged role-player, and the payoff is generous indeed.<\/p> <\/p> Hawke’s companions have their own lives and motivations and generally act independently of our hero. Each companion is relatively well-drawn, and Hawke is often left with the unenviable task of picking up the pieces and protecting her friends from their foibles and pitfalls. The companion quests are by far the most engaging of the game, in terms of both quest structure and their contribution to that character’s growth or the overall narrative. Merrill’s is particularly harrowing, the result of which is an act that, more than any other in Dragon Age II<\/i>, will define my experience with it; Aveline’s, on the other hand, is heart-warming in equal measure.<\/p> It is unfortunate, then, that the game doesn’t allow for more interaction. The extensive back-and-forth conversations that so richly complimented Origins <\/i>are only available during specific quests, the party’s camp having been replaced by individual houses and apartments scattered throughout Kirkwall. Fewer opportunities for interaction means that relationships are less subtle, less nuanced — companions are drawn to overblown extremes in order to push their sub-plot forward. And that’s too bad: Hawke’s companions are weak, frail people with obvious moral blind spots and their own ways of coping with their lives in Kirkwall, and they are a joy <\/i>to talk to. That I often sought out chances to excoriate Anders or protect Merrill are credit to David Gaider’s characterization and the role-playing he encourages; that I wasn’t allowed to do so is a black spot on Dragon Age II<\/i>. <\/p> <\/p> The series excels in the small moments of its games, and DAII<\/i> is no different, but it’s a genuine disappointment — stemming from moments of great joy — that there aren’t more of them. Collateral damage includes the game’s romancing mechanics — whether by design or the system’s own opacity, I accidentally broke up with Isabella and was locked out of pursuing other relationships or the option of trying to re-seduce her. Marian Hawke is apparently a prude.<\/p> A corollary to the game’s basic interaction system is the friendship-rivalry dichotomy, the mechanic by which different characters respond to Hawke’s decisions. No one ever says that Hawke’s decision to, say, help a mage is immoral<\/i>, but such an act would enrage Fenris and make Anders happy. Companions accumulate points on a sliding scale, unlocking dialogue options, quests, and abilities along the way.<\/p>
Developer: BioWare
Publisher: Electronic Arts
Released: March 8, 2011
MSRP: $59.99<\/b><\/p>