Gabriel

If I send a worker on excursion, am I able to bring him back during his excursion through a talent trade with the company he was sent to? Or do I have to wait the full length of the excursion to have them on any of my shows?

The easy fix is to have hype videos on Night 1 for the matches on Night 2, and then do recap videos of the matches from Night 1 on Night 2. That way, everyone booked is (technically) on both shows and shouldn't face a morale hit.

Another thing I have success with is changing how many episodes are taped at a time. I don't like the rigid schedule of Tape 4 shows, then do an event and repeat. So, I'll schedule my major events, and just alter how many episodes are taped at a time when necessary. I might start with 4 weeks of tapings, then switch it to 3 for the next set so that I can have 7 episodes lead to the event, instead of forcing 8 or having an event that takes place between airings of taped shows.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="James Casey" data-cite="James Casey" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>Very small question, as someone coming back to the game after an extended break:<p> </p><p> </p><p> I know that <strong>somewhere</strong> there's a calendar that shows the upcoming month and identifies any workers who're booked on other shows, but I can't find it. Can someone point me towards it, please?</p></div></blockquote><p> </p><p> You can find it by going to Events & TV, and then Availability.</p>

In the company relationships screen, there are absolutely options to open up your company (or ask another company to open up to you) for accepting developmental workers. If what you're looking for is the ability to utilize other promotions to develop your workers, that option already exists in the game.

I think that an option to have a hiring rule like "No Exclusive Contracts for Out-of-Area Workers" would be a good addition. That would mean that anyone who lives outside of Japan wouldn't be able to sign an exclusive contract with a Japanese company... but if they do most of their work there and end up relocating, that would open up the ability to sign them. Think someone like Chase Owens for that one. Brought in as a foreign worker, but now does the bulk of his work for New Japan exclusively. So, he would have been on a handshake deal for the beginning of his term there, but somewhere along the way, he started taking more dates there than in the States (which, in game would mean that he would likely relocate to Japan), and now he's a mainstay with the company.

I would argue that it works absolutely fine. If for instance, Kenny Omega is signed to a written contract with New Japan in your game... and then you create AEW and sign him to an exclusive written contract... what happens is that the value you get in the interim for having the exclusive written deal is that not only will Omega not be able to re-sign with New Japan when his deal with them expires, but he will not sign with any other companies beyond the moment you sign him exclusively.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="ccgmacc69" data-cite="ccgmacc69" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>I'm playing a mid company in the US. My popularity is 42 at home. I ran a show in England where my popularity is 12. While my best performers average around 45 to 50 in individual performance at home, when I went to England they performed half as well. Even when doing promos, they performed half as well than they usually do at home. Is there an explanation for this? Jet lag? LOL Just curious.</div></blockquote><p> </p><p> You're probably running a style that weighs popularity fairly largely, then. So, you can expect lower ratings when running in places where your workers are not as popular.</p>

I like this idea for specific attributes. Some things develop specifically because of where they work, who they work with or other factors... but some of the attributes being assigned for future use would be nice. Especially stuff like acting and MMA.

My understanding is that the Rookie designation is for first year workers. The Young Lion designation is for younger workers whose Respect stat hasn't hit a certain level yet. So, Rookies without the Young Lion classification are not held to the same strict standards as those with the Young Lion mark.

Usually as a smaller company, I won't even have road agents. I'll just find the wrestlers with the best psychology and respect and get two of them to accept the role of road agent. It's one less person to pay, which is huge when you're a smaller company. So I wouldn't cancel the show if you can talk someone into taking on the role.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Acamality" data-cite="Acamality" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>Can anyone explain masks to me? (I've only casually watched wrestling here and there, and mostly Youtube or reading about it, so I'm still trying to figure out simple stuff like how often title fights and such happen, so there's a lot to learn)<p> </p><p> For ex, in the Worker editor you can set their Mask to No, Weak, Medium, etc. I'm unsure exactly what this means, because it seems it doesn't only relate to Lucha masks.</p></div></blockquote><p> </p><p> The options in the editor are for how prestigious the mask is. No would mean that they don't use one. New means that the mask is recent for the worker... Weak would imply that it's been in use for a bit, but still doesn't have any prestige quite yet... and then you go on from there.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Suplewich" data-cite="Suplewich" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>I'm a bit pissed off right now. It's the second year where I wait to see if I get any homegrown people in my Performance Centre, and it's the second year where I don't get s---. For my save where I'm trying to make my company almost full of homegrown guys, it's frustrating. What is happening? Why is that happening?</div></blockquote><p> </p><p> If you don't have any worker pics in the appropriate folder (Random?) then you need to go into the settings and change it so that worker pictures are not required when generating new workers.</p><p> </p><p> If the settings have it so pics are required and the folder is empty, the game will not generate any new workers.</p>

PPV burnout is probably a thing. If you run them too often, you'll start to notice diminishing returns. It will also hurt him that he is broadcasting the PPV events on commercial networks, as people who have a choice will choose to go with the commercial broadcaster.

Using New Japan as an example, I would say that stories are definitely advanced throughout tour shows, but the major notes of the stories would be saved for the larger events.

I would check on the gimmick ratings of both guys, as a failed gimmick can keep someone's momentum from getting too hot. You may need to assign a new gimmick to the struggling worker.

I think I'm okay with the way things are, really. I mean, loyalty in wrestling is almost a one-way street. If the worker is loyal to a company, they're less likely to leave for any reason other than completely awful morale... but there aren't many workers out there whose company would actively keep them on payroll if they aren't providing anything worth the money. For that reason, having companies let loyal workers go to save money or make room on the roster for someone with better value isn't unrealistic. That being said, if it isn't already the case, loyal workers should be kept above non-loyal workers if they provide similar value to the company.

Match and Angle focus is absolutely for the player. When selecting the ones you want for that, read the blurbs about what they mean, think about how you book your shows and choose the one that will be most favorable to you. Each focus can make or break your shows and company, depending on how you book and what you have to work with. For example, if your roster more or less sucks, but you've got a handful of great main event talent, then you will for sure want the Main Event Focus, because the bulk of your show will be rated based on how your main event does.

<p>I would heavily suggest mass editing worker personalities to be professional (or none) for anyone in the database that you haven't personally set.</p><p> </p><p> One of the things about converting from 2016 is that there are so many negative personalities in the database. I have found playing as smaller indies very difficult to do, because the negative personalities run amok on the backstage area.</p>

I can confirm that this is the case. In my 2004 JAPW game, I planned out my most recent event with the understanding that my top referee and Chris Candido would both be unavailable to me due to their work for WWC. When I got to the event, the ref was unavailable, but Candido happened to be available for me to use.

Being able to tape television shows has been an awesome addition to TEW 2020, but I was thinking about how ECW and other companies used to do it and found myself wondering if that might be a viable addition to the game. Basically, ECW would pick and choose matches from their live events and air them on Hardcore TV because the live events themselves did not broadcast. So I was wondering if it might be possible to do the same thing in TEW... where you run your live events, and then can pick which matches and segments from those events to air on what weeks, and then fill in the gaps with outside of the ring segments like videos. For historical gaming purposes, the user currently would have to choose whether to run live events and Hardcore TV and ignore that Hardcore TV was made up of matches from those events... or choose to run one or the other and make some necessary adjustments. I think a feature like this would be great, especially for companies that don't have any broadcasting for their events.

<p>I would suggest changing the attributes of Buff E and Mase, the Christopher St. Connection.</p><p> </p><p> They're set as 100% Faces, but they made very effective heels in the early 2000's because of their gimmick and the lack of acceptance from a large portion of people.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Andrestafford" data-cite="Andrestafford" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="49917" data-ipsquote-contentclass="forums_Topic"><div>Do you know if I use the same worker for 2 shows on one night will I pay the per show fee twice?</div></blockquote><p> </p><p> You pay your workers per show worked.</p><p> </p><p> So, if you are taping four shows as Impact and using Rob Van Dam on three of them, you will be paying RVD's appearance fee three times.</p><p> </p><p> In today's patch though, Adam mentioned that he lowered the production costs for tapings due to that being requested. So now you also have the added benefit of lowered production costs.</p><p> </p><p> It makes sense though, to have to pay a worker per show. I mean, using RVD as an example still, I can't imagine that he would be too happy to work a PPV event and make $500, and then work three Impact Wrestling TV events at one taping and make the same amount of money.</p>

If it's at all possible to do, I think the best method would be to have a user-set ratio for Local to Foreign talents. A lot of Japanese companies do have gaijin workers under exclusive long-term deals, so stopping that from happening in order to lower the amount of foreign workers being brought in would stop things like the rise of Kenny Omega from happening in the game. So a ratio would seem to work well. You could set a company at 90:10 or 80:20 in regards to Local:Foreign workers. That way they can still bring people in, but you don't look at Pro Wrestling NOAH a year after starting your game and wonder why it seems to be Ring of Honor, with some WWE cast-offs and whatever Japanese talent hadn't been let go.

The biggest positive to holding tapings for your TV as a smaller company is that you can schedule your tapings for a day when all or most of your talent is available to you. So if you have a lot of people on your roster who work in other companies that they value more than yours, you don't have to worry about not being able to use them on your shows. You just schedule your tapings for a day when the workers you need are available and you have now just avoided finding out that your World Champion won't be available for three of the four shows leading to your next major event. And with the new Availability Calendar, you can really plan that out so that you know who won't be available for your major event, and who will be available for your TV, and you can plan accordingly to push people who will be featured on your major event, and possibly keep those who won't be there around in secondary stories on your TV. I see it more as a planning tool than a financial aid.