Ooo, a story discussion. I love Bioware story discussions because their level of quality varies so extraordinarily for different reasons. They make fantastic examples.
Origins, for instance, is a great example of why cliche isn't bad by default. It hits every other cliche in the book, but the execution is (mostly) phenomenal, with a surprising amount of subtlety and depth...to much, in fact, for its own good. There's plenty of examples to pull from, but Loghain is the centerpiece here. It can be argued convincingly and easily that he's either a despicable, crazed villain or the unsung hero of the story, but you can only reach these conclusions by digging into the details of what's happening. The plot as a whole takes a great angle on an age-old tale as well by treating the major threat as more of a force of nature in which the focus turns to how to stop it rather than stopping it. This allows us to explore the politics of the region, the greys instead of the straight black and white of we are good, they are bad, which in turn allows us to explore a far greater range of personality types and morality than...most any other game, really.
Inquisition, on the other hand, is an example of why you cannot rely on cliches or the same old, that you have to take the extra step, and that you should remain consistent within your own lore. Like Origins, the centerpiece here is the focused-upon villain of the game. See, Corypheus wasn't a bad idea for a villain. Back before news came out I frequently stated Corypheus SHOULD be the main villain, to bring Bioware a step back from the mediocre stories they'd been telling with weak antagonists since Origins was realeased, to a sort of callback to Irenicus. You have this man, a powerful wizard in his own right, who reached beyond his means and fell further than any would think possible, only to return. There's a lot of history there to explore, a lot of personality. Instead we had a villain who was treated more like the archdemon of Origins - a pure evil given no depth or further insight. That worked for the archdemon, though. The archdemon wasn't a character, it was a force of nature. It was an entity we needed to figure out how to face off against. Corypheus is never treated like that, and just falls flat.
But Inquisition goes so much further than that. Like the entire plot revolving around a plot hole. There was no reason to sacrifice the Divine. Kill her, sure. Sacrifice to give power to the orb, sure. But both didn't have to happen at once, in such a compromising position. The wonder wasn't that the situation backfired, the wonder is that nobody would think it wouldn't backfire at all, and it weakens the story the longer it goes unadressed...which it never is. There extreme pacing issues. Story is often told in a matter of minutes with hours in between of little to nothing. Example is losing your base of operations a third of the way through the game, being left as a wandering, ragtag army in the wilderness, only to come across an even bigger and better fortress, and all of this in the space of a cutscene. There's no sense of loss here. You just lost a battle, barely managed to get your army away and retreat yourself, and the pacing allows for no sense of this. There's fanservice getting in the way of good storytelling. Cullen should never have been in a game beyond Origins. It made no sense with his story being what it was. But people ignored that and loved his little forbidden love story and his voice actor, and Bioware gave in and forgot everything else, just like his squeeing fans. That's poor storytelling. You cannot tell me the story would not have been better served having the same character from DA2 onward be something as simple as called a different name. Stretching the bounds of a story for the sake of fan service is never a good thing, and Bioware has become notorious for it, and it has weakened every sequel they've created after the Baldur's Gate series. I could go on and on, but I think the point is clear. Inquisition is a lesson of depth, of execution, for even with a solid basic plot you still need to execute.
DA2 is just awesome though. I hold it up there as one of the great stories to show writers what NOT to do. I've said it time and again, but if I asked a person to write a worse story than Dragon Age 2, they'd more than likely fail. Thing is, we all have a very basic understanding of structure, to the point we don't think twice about following key parts of it, and DA2 breaks this so completely it's actually funny. How, you might ask? For starts the story outright tells you, or heavily insinuates, Hawke is the only person who can stop some great incoming war, and we are then treated to a story about how that is possible. We then begin the story at a random piece of time which has no baring on anything. It's after a major battle, before going to Kirkwall, when Hawke meets Flemeth and loses a family member. So wait...is the story then about Flemeth? Or about Hawke and family? Or about this save the world thing? Whatever, we get to Kirkwall, and immediately skip a year into the future, and have somehow dodged every single piece of character development of the Hawke family excepting the loss of a sibling. This includes, loss at Ostagar, loss of longstanding home in Lothering, introducing the new city proper that the setting is based around, and time of servitude which we are for some reason supposed to not like. No character has been developed, the setting hasn't been developed, and we've dealt with a lot of baggage. And which of those plots I mentioned is the story actually about? Well, none, actually. See, nothing Hawke does actually has anything to do with the coming war or could further effect it (or, if you want to really stretch things, nothing until the third and final act of the game), so that's not it. It's not about family since they're all gone by the middle of the second act. It's not about Flemeth since we see the last of her in the first act...wait, what was the point of that prologue again? Why did Varric start there and not at any other point? WHAT THE HELL IS THIS STORY ABOUT?!?! The entire thing is a bunch of nonsensical ramblings which makes like it's supposed to have a point...but doesn't. It might be fine, just having some wandering stories about a guy, but then you need development, and the game consistently fails this completely. It is the single most broken published story I've ever experienced.
And no, no amount of "finishing" would have fixed this. A lot of the choices made here were early on in development, and the game would have required a significant rewrite to put itself back together.