The dialogue is your standard biowarian fare, no big surprises in that department. There are some truly cringe-worthy writing, but at least the amusing British voice actors covered up the worst of it.
There does seem to be more choice and consequences this time around, and not all of them retardedly polarized, although I do wish they'd stop railroading the player once in a while.
I'm playing on nightmare difficulty right now, and you should too, unless you're a pansy. The ruleset is a jumbo'ed mess, but it works surprisingly well for turn based with pause play - much better than the d20 adaptations Bioware shoehorned to fit a couple of previous games. Encounters are sufficiently challenging and well paced for the most part... but after fighting through a one dimensional dungeon filled with clones of the same goddamn spider, I was ready to kill myself. Fortunately, it looks like these dungeon clearing sections are few and far between - and I hope it stays that way for the rest of the game.
The spellbook is lacking somewhat, and the crafting could use some streamlining, but overall it's a yet another fairly solid and average Bioware title.
Bioware has essentially been remaking the same game since its inception, and DA:O is no exception.
R00fles!
P.S. What is so 'original' about TW? Other than its booby cards.. then again, that basic concept, comes from earlier games too. R00fles!
What Volourn meant to say is that DA:O ripped off of Warhammer fantasy.
Essentially, a warp gate opened to the south releasing a bunch of warp beasts. The ecclesiarchy (The Chantry) sent a bunch of inquisitors who worship the The Emperor (The Maker) who sits on his golden (black) throne. If you played as a mage, then you're a sanctioned psycker feared because of your vulnerablity to the warp (fade) but nontheless recruited for the war effort.