On the dark-side path the player character can commit theft, extortion and murder of non-combatants as story choices.
The player fights humanoid enemies and creatures with lightsabers, blasters and melee weapons; combat is stylized with no blood, wounds or dismemberment shown.
Cantinas show characters drinking alcohol such as juma juice, and the spice drug trade is referenced in dialogue and world detail.
The plot turns on galaxy-wide war, the near-extinction of the Jedi, and the destruction of inhabited worlds, with named characters dying on screen.
The player can bet in-game credits on the Pazaak card minigame and swoop-bike races, with no cash-out.
Twi'lek cantina dancers and some character outfits use revealing costume design, with no actual exposure.
Some settings, music and antagonists are dark and unsettling, including a villain who consumes the life of entire worlds.
Wild creatures can be fought and killed as ordinary combat encounters.
Party members can form romantic attachments to the player expressed through flirtatious dialogue; nothing sexual is shown or discussed explicitly.
Dialogue includes mild profanity such as 'damn' and 'hell'.
Knights of the Old Republic II is a single-player science-fiction role-playing game set in the Star Wars universe thousands of years before the films. Playing an exiled Jedi, you rebuild your character's connection to the Force, recruit companions, and travel between worlds resolving conflicts through dialogue and pausable real-time combat with lightsabers, blasters and Force powers. Fighting is frequent but stylized, with no blood or gore. The story is bleak and morally gray, dealing with war, loss, and the collapse of the Jedi Order, and lets the player choose light-side or dark-side paths—the dark path involving cruelty, murder and other crimes. Optional content includes flirtatious companion romances, cantinas that reference alcohol and drugs, revealingly dressed dancers, and the Pazaak card game and swoop races where the player wagers in-game credits.
The game presents a persistent light-versus-dark-side choice: respectful, empathetic choices earn light-side alignment while selfish or cruel ones earn dark-side alignment, and companions can be drawn toward either path. Its writing is deliberately ambiguous, questioning the Jedi and Sith alike through the mentor Kreia rather than presenting a simple heroic fantasy, and it frames violence and cruelty as consequential choices rather than incidental action.
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