Download any random savegame and with Gibbed's save editor you can modify it as you like by simply ticking.Here you go buddy.
If you still don't like them then find one close to your choices and use .
Gibbed's save editor
But read the instructions. For example you cannot have both Ash and Kaidan ticked.
Now I have to to do that soon. But bop Miranda instead of Jack. Not tell the Quarians about Tali's Dad's experiments and convince them to wait until Reapers are done to go to home-world.
New appearance pack came out for ME2 for 3 team members.
I wonder how many people that have played the game will bother with it?
If it is not a new mission what is the point ?
If they make one with Ashely I hope some where in the mission you have the ability to go Sean Connery on her, slap her and have "consensual" ***.
http://uk.pc.ign.com/articles/114/1148845p1.htmlFilm Composer Clint Mansell to Score Mass Effect 3
The famous composer for films such as 'Requiem For a Dream' and 'Moon' reveals that he and BioWare are BFFs.
February 9, 2011
Clint Mansell, composer of such classic motion picture scores as 'The Fountain' and 'Requiem For a Dream' dropped the news that he is writing the musical score for the last chapter in BioWare's epic Mass Effect trilogy in an interview with The Quietus about his latest film, 'Black Swan'.
The website Badass Digest picked up on the news of Mansell's involvement in Mass Effect 3, which saw the composer asked about whether he does much work for other outlets like computer games. Mansell responded by saying: "I'm doing a video game this year actually. Mass Effect 3".
When describing what it's like to score a video game, Mansell said: "As I was saying about Public Enemy and re-working old hip-hop tunes for Requiem, and kind of re-working old ballet tunes for Black Swan, with something like Mass Effect you're more like a DJ, with all these elements. You've got the holding pattern, then the big explosion where you need the score to kick in. Then you need to take it off on a tangent. You've got all these different elements that change depending on what the player does. You have to figure out an overall symphony, but be able to break it down into component parts. You can bring the pain when required".
This is incredible news as Mansell is regarded by many as one of the most gifted composers working in the film industry today. His music is famous for being as epic as it is haunting. His involvement in Mass Effect 3 gives us good reason to believe we might be in for the most emotionally devastating game in BioWare's space opera franchise yet.
Shepard-Ashley/Kaidan interaction will be a major component of ME3 plot.
You cannot put that in a small DLC because it will kill the interest for ME3.
http://www.badassdigest.com/2011/02/...-mass-effect-3Clint Mansell Scoring MASS EFFECT 3
February 9, 2011
I love Mass Effect! Mass Effect 2 I’m less enthusiastic about – I liked it, but I think it’s a lesser game than the first. But I remain hugely optimistic about Mass Effect 3 (and Dragon Age 2 – BioWare and Rock Star are the two game companies I really follow).
Whatever else happens in that game – whatever the story, whatever the gameplay – it’s going to have a ****ing great soundtrack, because Clint Mansell himself is scoring it. Clint’s rapidly become THE composer of this century, and the fact that he’s turning his attention to games has got to be really exciting for the people who are heavily invested in games being taken more seriously. Personally, as someone who will be spending about 50 to 60 hours playing Mass Effect 3 I’m just psyched that I’ll have really good music to listen to.
Mansell talked about scoring the game with the website Quietus:Q: Do you do much work for other outlets like computer games? Mike Patton, for example, has most recently voiced The Darkness.CM: I’m doing a video game this year actually. Mass Effect 3. Funnily enough, talking about Mike, we’ve exchanged emails about the possibility of doing a show featuring the Quartet and people they’ve collaborated with. It’d be a Kronos show, with different rooms for other people to do their thing, then bringing it all together. It’s pretty cool-sounding.Mansell and Patton? That’s a collaboration I’d like to see.
I’m definitely interested in different outlets – that’s one of the reasons I get involved in short films. It’s not so much that I can experiment as it is to be in a situation where nobody’s looking over your shoulder. Short films are usually made by young people and they’ve got ideas I can bounce off. They can take me in a different direction.
Q: So in a game, the character might arrive at a big boss and you have to have a piece that can quickly become dramatic.
CM: That’s what I’m figuring. As I was saying about Public Enemy and re-working old hip-hop tunes for Requiem, and kind of re-working old ballet tunes for Black Swan, with something like Mass Effect you’re more like a DJ, with all these elements. You’ve got the holding pattern, then the big explosion where you need the score to kick in. Then you need to take it off on a tangent. You’ve got all these different elements that change depending on what the player does. You have to figure out an overall symphony, but be able to break it down into component parts. You can bring the pain when required.
I don’t now if this is ‘news’ for people who follow the video game media closely, but it is to me, and I’m damned excited to share it with you.
http://artsbeat.blogs.nytimes.com/20...vement-awards/Mass Effect 2 Takes Top Prize at Interactive Achievement Awards
By SETH SCHIESEL LAS VEGAS — In an upset victory for Electronic Arts and its BioWare studio, the science-fiction adventure Mass Effect 2 won game of the year here on Thursday evening at the 14th annual Interactive Achievement Awards ceremony. Voted on by members of the video-game industry under the auspices of the Academy of Interactive Arts & Sciences, the Interactive Achievement Awards are the most prestigious in video games and are the industry’s equivalent of the Oscars. The awards are announced each year at the academy’s DICE conference, which stands for Design, Innovate, Communicate, Entertain.
While well received by critics, Mass Effect 2 was not generally considered a front-runner for the top prize in the face of competition from the other nominees: Red Dead Redemption, God of War III, Angry Birds HD and Call of Duty: Black Ops. In addition to game of the year, Mass Effect 2 also won for outstanding achievement in story and role playing/massively multiplayer game of the year.
The western epic Red Dead Redemption, by Rockstar Games, had been considered the front-runner for the top prize. Instead, it took five individual awards, more than any other title: outstanding achievement in game direction, action game of the year, outstanding achievement in art direction, outstanding character performance (for the lead character John Marston, voiced by the actor Rob Wiethoff), and outstanding achievement in game play engineering.
The night’s other big winners were the noir thriller Heavy Rain, developed by Quantic Dream and published by Sony (outstanding innovation in gaming, outstanding achievement in visual engineering, outstanding achievement in original music composition); Blizzard Entertainment’s science-fiction strategy game StarCraft II: Wings of Liberty (strategy/simulation game of the year, outstanding achievement in online game play); and the downloadable platforming game Limbo, by Playdead Studios (adventure game of the year, outstanding achievement in sound design).
Besides game of the year, the other major upset was in the racing game of the year category, in which E.A.’s arcade-style Need for Speed: Hot Pursuit beat out Sony’s far more realistic Gran Turismo 5.
Casual game of the year went to Angry Birds HD, while CityVille won social networking game of the year. Portable game of the year went to God of War: Ghost of Sparta. Super Street Fighter IV won fighting game of the year, and sports game of the year went to FIFA Soccer 11 (in a minor upset over NBA 2K11).
In another sign that the video-game industry may be becoming more similar to Hollywood, the top-selling game of the year, Call of Duty: Black Ops, won no awards.