I think that ever since Bioware started to take a screenwriter's approach to video game storytelling with ME1 they increasing neglected the roleplaying aspects of their games. I've discussed some of the effects here and here. There has been a reversal in DAI (not drastic, but at least significant), but up to ME3 that trend remained unbroken in both of their active universes. I summarized this as follows:
I think ME3 is the current culmination of a trend that increasingly doesn't let players act, but lets games act upon them instead. Increasingly, developers didn't think about what the player might want to do rather than what they wanted the player to do, which is, in my point of view, anathema to roleplaying.
There is, of course, a natural antagonism between a storyteller and a roleplaying and their respective needs, Bioware has managed, in the past, to find a number of sweet spots, and made games that were reasonably good in both storytelling and roleplaying. They appeared to have forgotten how to find those with the advent of fully voiced protagonists and the consequent focus on character drama which often came at the expense of common sense and plot coherence. The strong focus on controversy contributed to that inability to find those sweet spots, because of course controversial themes need more plot forking and most importantly, more options for character expression to work in a game that takes its roleplaying seriously, and both had become increasingly expensive.
In any case, neglecting roleplaying as much as in ME3 backfired at least with a lot of old fans. I have no idea if that played any role in the decision to make DAI less restrictive, but the post-ME3 explosion was certainly big enough that they should've started thinking about what went wrong. The direction taken with DAI was right from my POV, but they haven't found those sweet spots of their older games again. In DAI we were forced into a role defined by faith, another controversial theme that barely avoided exploding in their faces again because they actually facilitated roleplaying at a few key points (as opposed to ME3), but it still wasn't enough to feel natural in the face of the role we were put into and to which I could never object as strongly as I wanted.
I am somewhat curious what they'll come up with next.
Great posts and well said! The trend of taking control away from the player and replacing common sense and proper writing with cheap pathos has been more and more apparent in the past few years. I have been with BioWare since I played Nevewinter Nights and their games have definitely seen a lot of development. Sometimes for the better, sometimes for worse as with the aforementioned. Your posts also describe well how I felt while playing DAII, ME2 and ME3 at times. The last two in particular. Getting railroaded into working with Cerberus without any sort of decent, reasonable, non-WTF explanation, for one. (My first and favourite Shep was and is the Sole Survivor, so you can imagine how I feel about Cerberus.) Not only it does that but then keeps punishing you for a choice you've never made in the first place, but that was simply forced upon you. The game deciding for me how my Shepard feels about things, losing the number of dialogue options, Shepard getting handed the idiot ball every time the writers need some drama or make another character (TIM, Kai Leng, etc.) look cool, auto-dialogue, my character acting on her own where it's absolutely unnecessary... So, yes, I've got to agree.
Hell, I love this franchise, but it pisses me off so much sometimes. It likely pisses me off exactly because of that, because otherwise I'd just turn around and never look back.
I do think DAI is largely a step in the right direction. It's not perfect, it does have its issues, but most of the time it gives me a pretty good illusion of choice, as far as I am concerned, and little trouble to roleplay, very often also thanks to the increased companion interaction. (You're right that we can't object as strongly as we should be able to, given the Inquisitor can be a Qunari, dwarf, or a Dalish, to people pushing our character into the position of a religious icon, though. There are still some options at least.)
However, as far as I know, ME and DA are made by different teams and often even writers (while some work on both), which is why the games also feel so different and often develop in very different ways, as well, despite following similar formulas (adventuring in a party, emphasis on the characters, romances, etc). I have no idea whether they actually learn from the other's mistakes and successes or not. And DAI's approach seems to address complaints about DAII more than anything else.
Enter ME3. Let's look at Grissom. For the series player, the emotion of that mission is Jack. She will get all the attention and interest, so the class doesn't need much characterization or screen time because their only purpose is to characterize Jack. However, for the player starting with ME3, or a playthrough where Jack died, there has to be something in the mission, so the kids have to actually be written to carry the emotional weight.
I agree with this part in particular. (I think you can make one care in various ways, but I've never actually studied writing besides a little bit of it as a hobby, so that's just my opinion. All I know is that Garrus did absolutely nothing to make me care about his race, and the reason I cared about quarians is because I got exposed to them and their lives and troubles where even barely named civilians helped, and, yes, Tali.) Either way, it's only natural they needed to replace the characters that might get killed off in ME2 and needed to make it at least equally interesting in such case. That makes perfect sense. To me it's not really about the class needing or not needing characterisation. For me, after reading what Daemul said, it is about there being quality content purposely left out if Jack is alive. I don't think those things are mutually exclusive and I think the experience of the students very much has place in the story and atmosphere it is going for. Another example: On YouTube, I watched the convo that takes place when Shepard wakes up after one of the bad dreams and talks to Liara through the bathroom door and the non-imported Shep gets better, more relevant dialogue options while they get locked out for the imported Shep. The extra dialogue options are there, but you're not allowed to touch them when you play imported Shep.
It's all these little aggravations piled together and the ending is just such a perfect cherry on top. I do have to give BioWare credit for changing things around if circumstances are different, though. I have such mixed feelings about this issue, seriously.
Anyway, I'm rambling at this point.