Yeah, Mark of the Assassin isn't per se a huge narrative arc, it's a fun little adventure story though and I thought there were some nice touches, I liked little things like the tossing coins in the fountain game. Also getting to an environment that was mostly green rather than mostly brown was quite nice visually considering how most of DA2's areas look. It's sort of a pity I've played these games relatively late and therefore pre-spoilered on some major stuff, because
Corypheus appearing in Inquisition
would have given legacy a MUCH bigger payoff if I hadn't seen it coming.
Also, I'm surprised that Accidental Merrill is more of a thing than just me. Maybe there's also something about how the queuing of romance cutscenes works in there.
As for symbolism... yeah there's quite a lot but I sort of expect that in big storyline RPGs? Anything that has a proper core plot tends to fall into that. Skyrim's backdrop is concerns over nationalism and imperialism, the first Witcher game deals with fears over genetic modification, fascism and anarchism, and DA2's concerns - authoritarian outside religio-political movements, terrorism, control over law enforcement, etc - likewise deal with a lot of contemporary anxieties among the sorts of people who write and play games. It's just a bit inevitable, I think, that a game that tries to get the players to consider moral questions will end up framing those much like the moral questions of contemporary society. So I'd say I was quite relaxed about that.
I actually get more annoyed about big aesthetic shifts in the games, I'm not a fan of the C18th formal dress codes that randomly turn up in Inquisition for example. Though that's partly me feeling that C15-16 (which is really what DA aesthetic averages out to) formal wear was fantastically silly and I'm sad they didn't include it. But there's definitely a feeling for me that Origins felt very pseudomedieval in its look, DA2 a bit more early modern, but then Inquisition feels a bit aesthetically all over the place.