( CNN ) -- `` Dragon Age II '' is n't exactly a sequel , but it does continue to thrill with new distinctive artwork , a more descriptive speech mechanic and a combat system that feels intuitive and destructive at the same time . Where `` Dragon Age : Origins '' told the tale of a Grey Warden 's trek to gather allies , stem the tide of the malevolent Blight ( a wave of evil creatures bent on taking over ) and do battle against an arch-demon , `` Dragon Age II '' ( BioWare , Electronic Arts ) showcases another wave of the story . It starts with a family fleeing the Blight . Think of it as a branch off the `` Origins '' story tree to expand the `` Dragon Age '' universe . You play as Hawke -- either a warrior , mage or rogue ( player 's choice ) who is escaping with his mother , sister and brother . The prologue does a great job of teaching combat and movement mechanics , but you also suffer your first tragedy as a family member succumbs to the Blight . This pushes the story away from Hawke 's homeland of Ferelden to the City of Chains , Kirkwall . It is there that the adventure begins in earnest , and it serves as your home base for most of the game . Having played `` Origins '' on the PC , I was immediately struck by the new artwork design of some familiar characters . The Darkspawn , which are the grunt element of the Blight , used to look similar to orcs or goblins from `` The Lord of the Rings '' movies . Now , they appear to be more skeletal with an almost undead look to them . Mike Laidlaw , creative director for the `` Dragon Age '' series , said the game is character-driven and the team wanted the races to look unique . `` We did n't want to fall in the trap of all of the races to be humans with funny ears , '' he said . `` Ultimately , 'Dragon Age ' needs its own distinct look . One of the dangers of fantasy is , there is so much out there that it is easy to lump it all together into an elf/orc mishmash , and we wanted to stand apart . '' Laidlaw credits Matthew Goldman , the art director for `` Dragon Age II , '' with bringing a fresh , new look to the races and a desire to make the characters truly unique . `` I think there were elements of 'Origins , ' especially in the appearances , that were technical masterpieces , '' Laidlaw explained . `` But Matt felt that they were n't standing out enough . They were n't creating their own space and colonizing their visual identity in the way that he wanted . '' The Quanri , a warlike race that originally appeared as large humans , also got a makeover . They retained their size and aggressive appearance , but they also sprouted horns similar to a gazelle or , as Laidlaw points out , an ogre . One of the driving forces in the game is the interaction between the player character and his allies and other non-player characters . Talking between characters is done through a series of choices that allow the player to take different postures in the discussions . The speech choices are now shown with an icon that indicates the tone in which the character will speak . Laidlaw said that in `` Origins , '' a player could n't tell whether the choices would come out as sarcastic or aggressive and may have chosen a response that they ended up not wanting . `` We wanted a mix of the paraphrase , so you could see what you were going to say , and the statement of intent , '' he said . `` While some of them are just tone , knowing when you are going to be funny is really key , especially when that is one of the principal tones of the game . '' There are icons for peaceful/helpful , funny , aggressive , hard , romance and others . I found myself using helpful and funny answers more than others . Laidlaw said the game recognizes those tendencies and adjusts character reactions as the game goes on . `` For example , if you find yourself constantly being a smart-aleck or making jokes , you 'll find in combat that your battle cries will change . It does create a consistency of character along those core choices . '' Laidlaw explained that it gives gamers a greater sense of control over their characters to shape them the way they want and a create deeper sense of immersion in the game . The game uses a recurring interrogation scene as part of its narrative , a move Laidlaw says is intended to add perspective and depth to character development and movement of the story . Varric , a dwarven crossbow expert and ally of Hawke 's , is being questioned by Cassandra , a Templar seeking answers to some unnamed , yet often foreshadowed , tragedy surrounding Hawke . Chapters of the game 's story start and finish in the interrogation room , with Varric leading into or wrapping up the action and Cassandra reacting to what she 's hearing . It is an interesting technique and gives the game a television series feel , complete with recaps and previews . I almost felt like it was time for a commercial break to raid the fridge . It is n't necessary to have played `` Origins '' to enjoy , and progress in , `` Dragon Age II . '' But developers wanted it to retain the first game 's history . Players who begin play having already saved a game of `` Origins '' will see differences in certain parts of the story -- from who is on the throne to the political and social situation in other kingdoms . Game play on the Xbox 360 console feels clean and smooth , with very few hiccups or lag . The outdoor environments are colorful and detailed , but the underground caves and caverns start to feel similar , with lots of identical layouts . Combat on the major gaming consoles utilizes two levels of mapable buttons for skills and spells , while a shortcut bar offers more choices on the PC version . Controlling the party 's actions seems easier on the PC than the console , but it can be done with some practice . Battles are as visceral and graphic as ever and the `` persistent gore '' setting returns , which makes for some awkward conversations . Trying to pay attention to an important bit of information is made more difficult when you are thinking , `` You 've got a bit of ogre on your chin . '' The tactics system is carried over from `` Origins , '' allowing you to set up character actions to occur at pre-determined thresholds or events . Characters can be set up to drink a healing potion when their health gets low without any break in the battle or gamer involvement . `` The combat is still tactical , still requires you to think as a team and not just as one character , '' Laidlaw said . There is no `` there 's the big bad guy , go get him '' mentality to how the game unfurls . It is an interactive story that allows players to grow their characters organically , from the aspects of both combat and personal development . And it is n't a game if you 're just looking for a quick turn on the console or PC . The action occurs over numerous quests , side quests and personal missions that can easily chew up 30-plus hours on a weekend as you try to complete `` just one more quest . '' `` I never want to give players all the answers , '' Laidlaw said . `` I think the mystery , the sense that this world is richer and deeper than just one game helps keep it more vital , more vibrant in terms of player experience . '' Whether you play as the dashing hero romancing every woman you meet or the hard , rough-and tumble-hero who smashes first and forgets to ask questions later , `` Dragon Age II '' has more than enough action , drama and suspense to keep fans of the fantasy gaming genre pleased . `` Dragon Age II '' comes out on March 8 in North America and March 11 in Europe on the Xbox 360 , PlayStation 3 , PC and Mac . It is rated M -- Mature ( 17+ ) for blood and gore , language , sexual content , and violence . This review was done playing the demo on the PC and the retail game on the Xbox 360 .
`` Dragon Age II '' thrills with new distinctive artwork , descriptive speech mechanic . Combat system that feels intuitive and destructive at the same time . Story begins with a family fleeing from the Blight to showcase another angle .