Bigpapa42

June 7, 2017

So with something like the nWo, there are a couple of factors I would consider....

1. Do I care about what's "realistic" at all?

2. Do I want the best narrative, or am I focusing more on what is the most fun to book....?

If you want any connection to realism, I would say that resetting the product to a previous era is highly unlikely. Pro wrestling had evolved by the later 90s. While going back to what WCW was in 1989-1991 would work in TEW, it wouldn't realistically have worked in "reality".

As for the second, I usually look to the stories and narratives. There are a lot of ways that keeping the NWO together in some form works - the fans loved them (even if some were tired of it) and it can be fun to book. But given the group, what they had done (and tried to do) to WCW and what their goals were.... from a purely narrative perspective, does it make sense that they survive somehow? Or does having them ended, for good (at least for a few years), and made to suffer make for a better ending to the entire story arc?

The Goldberg conundrum is a tough one, and its why doing the unbeatable monster is hard in certain ways. I would probably turn him heel. Easy enough to do. He's dominant but he starts to develop a mean streak. Becomes a bully. He goes out of his way to intimidate people. Its not even really giving him different elements - rather, you are just emphasizing certain ones more. Eventually, he does something nasty enough that fans turn on him. then its a matter of building someone up. I would go with the underdog chase. Someone who has one or two elements that others do not that could allow them to beat Goldberg. You could even do a long story arc about how they are targeting Goldberg, training new techniques specifically targeted at him, even working with former opponents to learn. Its as much cerebral as physical. Personally, I'd go with someone like Benoit or Guerrero, but take your pick. Those guys could emphasize their quickness and athleticism, taking Goldberg into "deep waters" to test his endurance. Look at the Punk-Joe trilogy and there is a ton of inspiration there.

June 6, 2017

TCW is a company that is awful fun to create stables in, I’ve always found. Seems like it’s had some big ones thru its history, from the musical one (name escapes me right now – Painful Procedure?) to The Syndicate.

So I think part of why I have an itch to start up a TCW save again is that I have found a new vibe for them. Or maybe more accurately, went a little deeper with a couple of things. With fictional companies, I always like to find a real world company I can compare them to. Not directly, but for the look and feel of the company, the overall vibe and dynamics, how the presentation is, etc Think I’ve mentioned it in this thread before, but I’ve always connected TCW to both the 1988-1991 WCW (updated, of course) and a bigger ROH. A fairly serious company that still makes use of characters and gimmicks. But those characters and gimmicks aren’t really the focus – the in-ring work is. Not really moving away from that conception of them, but….

Recently started watching through the Progress Wrestling shows, and something with that clicked. Progress is obviously a much smaller company than TCW, but some of the dynamics would work well. The “punk rock” aesthetic fits with certain aspects of TCW. So does the “British Strong Style” dynamic they love. Progress has more of a comedy element present, at least through the first 15 shows, that TCW really doesn’t have, at least according to its product. But looking at some of the talent they have and have had under contact….

Unnecessary (probably) history lesson…. TCW started like as Hollyweird Grappling Company, a pretty direct knock-off of the SWF using former SWF stars. When JK Stallings got bored, he sold to tommy Cornell (and some investors) and the company evolved into a more work-rate product, built around its own home-grown stars. Basically the exact opposite of the evolution of WCW from 1988 through to 1995. I’ve always seen Cornell as a savvy, sharp guy with a good business sense, but he never quite had the resources to take on the SWF and it eventually burned him out. To me, the product evolution made sense because it fit the overall talent roster that TCW had (not just fit Tommy himself better) and it made TCW a bit of an alternative to the SWF instead of trying to simply emulate them. Because of that, I’ve long considered TCW to have a slightly different presentation to the SWF. I’ve always envisioned the SWF as similar to the WWF in that regard, an industry leader with cutting edge (and expensive) production quality, graphics, etc. I don’t know that TCW under Cornell would be trying to match that, at least not directly. So I’ve long pictured a more stripped down approach – not poor graphics and such, but just everything a bit more simple. You don’t have the whole arena lighted and a huge stage set up – you have the ring lit up but a lot of the extra stuff is a bit extraneous. Even the colors fit that – I imagine a ring in just black and white, because the focus is on the workers.

The SWF is an arena rock show, full of explosions and lasers and pyrotechnics and props. TCW is a stripped down rock show in a club, all about the music. Punk rock, basically. I guess I was making that connection before watching Progress made me think of it that way.

Same with the “American Strong Style” label. I’ve long thought TCW would using an intentional connection to Japanese wrestling, evidenced by having Ino, Vessey, Taylor, etc. A wrestler from Japan is more likely to fit the TCW product than Supreme. The American Strong Style label really fits as the TCW product as a whole is more athletic, hard-hitting, and physical than Supreme and much moreso than USPW. I wouldn’t go too far with the strong style dynamics and emulation, but I think TCW fans would eat up a good, hard-hitting battle between warriors. Again, it’s something I was already using in how I approach TCW but hadn’t really put that label to it.

Thinking through all of this as I get a new save started gives me the itch to write about it. I’ll probably have to limit that to some “how things are going” recaps in here.

June 6, 2017

Its an issue I've seen for awhile. Its not as bad as it was at one point, but I've never found an outright solution. Been tweaking a version of the Mod Squad's 2001 WCW Lives mod for awhile (including a 2002 update) and my workaround has generally been to give them much more starting money than is realistic. A regional company with like $100K is highly likely to die off, I find. I'm mostly modding it so I can play as WCW but if someone was going to be playing one of those companies, it would be a bit problematic.

In some cases, I think it comes down to regional battles. I found Dragon Gate survived if I moved their home base from the Kanto region, where there are already a bunch of promotions.

I did toy around with business and booking skill in some testing and never found it made a big difference.

I've always assumed that a key part of the problem was finding a proper balance between company size and worker overness. I think some of the workers are just too popular for the company size. In most cases, its not a massive difference. But if you consider that if much of the roster is even just 20% more popular than what a company that size can reasonable maintain, that puts their worker expenses at 20% too high and makes it all but impossible for them to make any money.

June 3, 2017

Love reading what others have done. Helps so much in planning a save.

So for those cancelling the TV deal ASAP, I assume USA Sports 1 is the move? CANN would also work but USA Sports 1 has wider coverage.

June 2, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Poputt" data-cite="Poputt" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41343" data-ipsquote-contentclass="forums_Topic"><div>Signing Marat just means you've failed as a player. There are only two things keeping you from winning the first few national battles: your crappy TV deal (which you should axe immediately), and bad booking on your part. A good chunk of the roster has more than enough star quality to move into the top spot and compete. Vessey needs to job down the card for Peak, RDJ needs to have his spot taken by Bach, and Chord needs to be shoved over Taylor. The only issues TCW has going forward are contracts expiring and Rhodes blocking negotiations.</div></blockquote> Marat is definitely the easier path lol. I don't intend to sign him because it doesn't fit what I want to do with the company. The roster movement you mention is pretty much what I intend, though I'm not sure on Chord and Taylor switching. Spent a bit of time last night updating renders and trolling thru indy scene talent. There are so many good workers in the Cverse that are young enough that they could develop and become great. Its going to be hard not to go too overboard signing everyone under the sun.

June 1, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="bfhrt1" data-cite="bfhrt1" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>Hello, friends. Is tag team experience important? I've got two young up and comers with high potential, and I'm thinking of sticking them in a team and having them work they through the mid-card, but they have neutral chemistry as partners. Will they get better match ratings as their experience increases?</div></blockquote> Neutral chemistry is fine. It just means they aren't getting a bonus. Once they have built up some experience, that will eventually provide a match bonus. But its MASSIVE. Its not going to be the difference between them getting D grades and B grades. It might tip them into the next grade but don't expect massive differences. Their skills and their popularity will play a bigger role in them getting better match grades. There are also a whole host of potential bonuses and penalties (Star Quality, Charisma, motivation, etc) that can impact a match. Edit - neutral chemistry being "fine" is subjective. There are some players who will seek out positive chemistry for any potential tag team, and that's not wrong. Personally, I would rather have two workers who match up in some way and have some connection, even if that means neutral chemistry. I'm much more likely to make positive use of them if the combination of workers as a team appeals to me.

June 1, 2017

Been toying around in real world mods, but spending more time modding than playing. Itching to just PLAY a bit. And I haven't given the Cverse a real proper save on TEW 2016. Think I spent too much time in the CV in testing but now I kinda have that itch. The SOTBPW thread got me thinking but looking thru the Cverse, its the SWF and TCW that appeal the most. I'm still going back and forth a bit between those two.

TCW is a tough game on 2016. So much tougher of a save than when you could just spam Tommy Cornell all the way to glory. The rise of USPW and SOTBPW make it impossible to keep top stars. I ran a 1 year test save recently, and TCW lost Sammy Bach (who became SWF's figurehead because Jack Bruce died), Rocky Golden, Wolf Hawkins, and Jay Chord within that year. Just brutalized the top of the roster. I like some of the tips in here of using positive meddling to build some relationships but that might not be enough. I feel like I need to approach a TCW save with the expectation that some top guys are going to be stolen. And stealing top stars from other companies doesn't seem too likely - even if you play as the owner, taking on massive contracts will be financially crippling.

The approach of signing Marat to help in the national battles... it makes sense but I'm just loathe to do it. He's not the kind of worker I want to build the company around. I'm a sucker for the monster Russian heel but just not feeling it in TCW. With his Menace, Killer Shark could be built up relatively quick but I would rather groom him a bit slower, I think.

I think my approach for a new save will be to accept that there will be top name losses, accept that there may be a drop to Cult, but focus on the long-term and build for the future. I can start 2 touring developmental companies at the smallest possible size - with good workers, a workrate product, and regular shows, the companies and the workers should improve quickly. Especially if I snap up a lot of the indy talent, and lock any sure stars (Greg Gauge, Ernest Youngman, DWN, etc) up on 10 year deals.

One thought I had, probably because I was recently playing a WWF 1987 save with all the awesome managers they had, was to use managers and stables quite a bit. There aren't TONS of top quality available managers in the Cverse... but there are a few good ones. By having a couple of them lead alliances/families/stables, it can create long-term feud continuity even if I lose some of the workers involved.

May 29, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="MHero" data-cite="MHero" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="43724" data-ipsquote-contentclass="forums_Topic"><div>Very weird in how he was always like a day one signing for people in 2008 & 2010 but seemingly fell completely off of the radar in 2013 & 2016. Did I just age myself? <img alt=":p" data-src="//content.invisioncic.com/g322608/emoticons/tongue.png.ceb643b2956793497cef30b0e944be28.png" src="<___base_url___>/applications/core/interface/js/spacer.png" /></div></blockquote> Yeah, he definitely was. He did get nerfed a bit for 2013. Going by memory, he had A Star Quality and overall skills that made him similar the very best prospects but he's just a step below that.

May 18, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Kingster" data-cite="Kingster" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="43580" data-ipsquote-contentclass="forums_Topic"><div>Yeah, that's my point. If you've got two main eventers facing each other, wouldn't the open match note be unnecessary (except for the potential minimal boost to the match rating) because they are already at the same level? I'm not saying it is unnecessary, I'm genuinely curious.</div></blockquote> Well, I think of it this way - between two main eventers, the match should naturally be relatively even. But not completely and fully equal. You see it quite often in main event level matches - one worker controls more of it than the other. And in some cases, there may be reasons to have one worker be more dominant and get more offense, whether they win or not. So with this note, you are telling them to make it more closely to equal than they otherwise might. Both workers get to look a bit better than if one had more offense, and the more competitive match makes for a better spectacle.

May 18, 2017

You are also minimizing the popularity losses and making for a slightly stronger match grade. so it depends on what you want to achieve.

May 18, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="sabataged" data-cite="sabataged" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41191" data-ipsquote-contentclass="forums_Topic"><div>100% agree. Right now 90% of my roster is 80 pop or above so its alarming when I have a B match let alone B show.</div></blockquote> Aww man, jealous. Been a while since I took a roster to that point. Makes things so easy too book. You can throw anyone together and boom, great grade.

May 18, 2017

Nice work, sabotaged. Looks like a fun save. I've said a few times that booking Sports Entertainment becomes TEW's "easy mode" once you have the right combo of talented workers and popularity. There are still going to be challenges - like keeping Joey Minnesota/Morgan happy lol - but the actual grades become much less of a concern. That said, back to back A* shows is strong work.

May 10, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="marsupial311" data-cite="marsupial311" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41343" data-ipsquote-contentclass="forums_Topic"><div>Good thread. I agree with you on your main point but my option would be to make your broadcaster only cover areas outside the US. Since you can get a good deal with a Big/Huge network in the US at the level you're at, having your broadcaster only cover what you want to grow into would make commercial/FTA your best options. If you wanted to cover the entire world then subscription would probably be better overall though a huge amount of cash to throw down since getting good coverage in the US certainly isn't cheap.</div></blockquote> I've considered that in a couple of saves. The problem is the expense of starting up a network of ANY size or type. Don't have the game in front of me to check, but I wanna say it would be like $10m just to open a Tiny network with coverage in one area, whether its the home area or not. If you open one in several areas (but not the main one), it would be like $20m. That's a very significant sum, especially since the income you would be generating would not be significant. Would the income from the other broadcast deals in your home regions compensate for it? Possibly, but it would take some testing. Another concern and the reason I didn't take this approach - if you have a child company and want to put them on the air on your own network, they won't gain much popularity in your home region, just in outside regions. I've run some experiments, giving a high Cult company a couple child companies with very high potential workers (who start at a good but not amazing level) with almost no home area popularity. I gave the company its own network (Tiny, by memory), and those child companies had TV shows on that network. The top talent in the child companies got their home area popularity up into the C and C+ range across the home region. The type of product and existing talent in the main company would be factors in how they gain popularity and if/when the AI calls them up. But still.... If you leave a worker with great potential in that child company for roughly 2 years, they could debut almost into a main event slot. If you do as you mention above, that possibility is negated.

May 10, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="marsupial311" data-cite="marsupial311" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41343" data-ipsquote-contentclass="forums_Topic"><div>Right, but wouldn't commercial give you the income and the growth for markets that you're below the 71 pop in? I would expect that subscription is only the best option if you're very popular in the areas your subscription is available?</div></blockquote> <a href="http://www.greydogsoftware.com/forum/showthread.php?t=535891" rel="external nofollow">http://www.greydogsoftware.com/forum/showthread.php?t=535891</a> Some good info in this thread. Commercial would give you income from growing markets, but Commercial gives you more income from the markets you are already strong in. Given that TCW starts with some good popularity in the US it should - theoretically, as I haven't tried it - give you more money from that market but less from the developing ones. Growth would also be a bit slower in those markets with subscription. So again, its what you want to prioritize. Do you want to make more money from your main region (the US) and grow a bit slower, or grow faster but make less from the main region?

May 10, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="marsupial311" data-cite="marsupial311" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41343" data-ipsquote-contentclass="forums_Topic"><div>Does Subscription grow your pop as fast as free to air? If you want just to grow pop I would think free to air is going to be the fastest way to do that if I'm not mistaken.</div></blockquote> Free to air is the fastest growth but isn't going to have the income. And never will. so its a matter of what you are prioritizing.

April 25, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Clark K" data-cite="Clark K" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>All over the world actually. Hadn't noticed that.But the shows they put on in their respective home nations and regions are also getting lower show ratings than i assume they should be getting. Im talking about SOTBPW and USPW by the way</div></blockquote> Yeah, running shows in regions where the popularity is a bit lower will have an impact. Common problem with big companies with wide spread popularity. Another possibility - look at the shows in home regions that are grading poorly and look at who they are headlining. With big companies with a big roster, I often find that workers who lack the popularity to really be upper midcard or main event workers get pushed to that level, and then used as such by the AI. That impacts show grades, particularly if its a popularity based company.

April 24, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Clark K" data-cite="Clark K" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>I've noticed a lot of A.I. international level companies getting mysteriously low show ratings. If i look at the segment ratings i find that the show rating is consistently 7-10 points lower than what it should be. It isnt that the rosters are too small either. Any guesses as to what might be causing this</div></blockquote> Where are they holding the shows?

April 21, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="SWF Fan" data-cite="SWF Fan" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>Does anyone ever like adjust Star Quality and Sex Appeal after unmasking or masking a worker? It feels like cheating, but if I could take a bland looking but really successfully talented worker and make him look awesome, it would merit a 10+ boost surely? Think Rey Mysterio unmasked vs masked.</div></blockquote> I've considered it. But with a bland worker getting a mask, they will get a boost once the mask has some prestige, so there is already some benefit in that way.

March 17, 2017

Any advice even still on hirings/firings and what to look for in talent?

MHero nailed it - the company is an open slate at this point.

The history of the AWF fascinates me. You have a company that was opened by a rich fanboy and was basically a pretty direct rip off of the WWWE. It took a few years before the AWF started creating its own stars. My perception is that the AWF never really moved away from that WWWE formula until the last few years. I always ran with the thought that Casey Skym added some layers when he had the book.

Now, under the new ownership.... you could go any direction. stay with the full WWWE style Sports Entertainment. Go more performance based. Get rid of the Starlets. Look to hire great in ring talents. Dive deeper into an Attitude Era type product.

Personally, in my current AWF game, I'm sticking with the Sports Entertainment approach, keeping the Starlets, having things with a bit of an edge but not too much. I don't love coming into a company and drastically changing it, even if this situation would make that completely logical and fit the situation. My thought is that Chief would like what the AWF is but see potential for more. So I will gradually get rid of some of the vets, especially those with negative personalities. They will slowly be replaced with newer signings, to form a second generation of AWF talent, now that the first generation has made it to the top.

February 9, 2017

A lot of people see Richard Eisen as Vince McMahon. While on certain things is a right assumption, for example like becoming the most powerful man in all wrestling world while directing a sports entertainment company, in other he is completely the opposite.

Probably the strongest difference and yet forgotten by many, VKM has never made a problem of re-signing his superstars over and over, even after some rocky relationships. Richard Eisen instead never rehired an active wrestler that worked for him. The only two workers ever brought back, working as road agent, are Marcus McKing and Black Hat Bailey.

Very much agree.

Eisen has also never gone outside of the wrestling business, which Vince has done repeatedly. Or tried to. Eisen isn't much of an onscreen character - Vince quite obviously is. Eisen has always kept the SWF roster fairly small, while the WWF/E has almost always had a bloated roster.

Its really easy to look at Eisen as pretty much just Vince, but if you really look at the canon history of the SWF, they are really quite different.

February 3, 2017

Double-post goodness....

So on Platinum and so far on Diamond, I've spent almost all my time with PWI. Platinum was the first time I tackled PWI as they just hadn't interested me before. And I enjoyed Integrity enough that I basically abandoned my first Tverse love, the AWF... even though I sometimes felt a bit constricted by the Allman Way. I wasn't really feeling Integrity that last time I ran with them, ended up taking another hard look at the AWF, and have developed a burning need to have a nice save with them.

I quite like the Diamond developments with Awesome. The Be a Star contestants, the new ownership, the roster changes, the addition of FAW.... pretty much love all of it. So its about time to take them for a spin. I've been eying it since the most recent version of the Tverse was released a couple weeks ago, but haven't had a chance yet to get the game going. So this isn't a "what I've done", but "what I'm thinking of doing" post. But maybe it will bring some suggestions and/or discussion.

I've always found booking Sports Entertainment to be relatively easy, and if you have some really popular talent at the top who are also good in the ring (which Hawk, Dolla, and Giroux certainly are), its not the most challenging. But it is quite fun. And I feel much more open with character and storyline ideas in the AWF than in PWI, which is a big appeal.

Will likely keep the main event scene revolving around Hawk and Dolla. There is temptation to have Hawk turn and I might do that at some point. But I will probably keep him as a babyface for now, but maybe move him away for them Hogan/Cena type babyface I kinda perceive the AWF to use him as. I have always quite liked Garrett South so I'm thinking that despite being a loner, who aligns with Hawk (who needs a tag team partner / someone to watch his back). But Hawk will somewhat turn on South at some point, possibly a situation involving Kelly King. A kind of "Super Powers Explode" situation but with the roles reversed. Could easily turn Hawk heel at that point but will probably just use it to layer his character a bit and add some depth.

Tentative plan for Giroux is to go back to something I did on Platinum and have him create a stable. Probably a 4-person stable with him, Towerblock, and two younger workers. A kind of variation on the Evolution stable concept. His on-screen motivation would be to "mentor" the young workers but it would quite obviously be a stable to protect him and serve his interests.

Nick Hart is a favorite and could get pushed up toward a world title run at some point but he's in a tag team that is a cornerstone team of the division at the start. Will almost certainly bring in Jess Hart to start forming a Hart family. Newton Cambridge probably gets to be a fake Hart, and James Gilmor will be a target to bring back from Japan.

I'm quite tempted to start up a cruiserweight division. I'm thinking of using X-Division, but X for eXcitement. Super Croak would get to feature more that way, and Temerio in development has some potential. There are LOADS of good cruiserweight, luchador, and super junior workers who can come in. And that creates a ton of opportunity to come up with some fun and interest characters, especially with so many cool masks to use in the free pics. Could even fully emulate the WWE and create a CW-specific show... though that's more likely once I can afford to open up an AWF-owned broadcaster.

The Starlets is where I'm a bit undecided. A women's division has tons of potential, but not so much if its just eye-candy, which it mostly is. I would like to evolve it much as the WWE evolved the Divas division, but that takes time. Might shortcut the process and hire Jess Hart, November Rayne, etc.

The aspect of the ThunderVerse I typically find the toughest is limiting the prospects I sign. There are just flat out too many great prospects and great characters. Its easy to end up with over 100 workers - male and female - in development. But bloating the roster isn't ideal, so I want to be at least a bit selective. FAW is already pretty full so I will open up 2 or even 3 more developmental companies. Smallest possible size and likely touring schedules. They tend to grow quite fast, though probably faster if it was a performance based product.

February 3, 2017

Anybody have any tips/tricks for doing a comedy fed? In particular, I'm gonna start with POW, but I want to try all of these little comedy gems in T-Verse to see what I like more.

How should the booking be focused? What main stats should I put looking at?

I'm trying to do it without cheating but if money becomes a problem, I'm not above it >_>

I've never done much for comedy type promotions, so someone else may have better advice than I. Would think it would be a popularity based product, and fairly angle heavy. For actual matches, I'm not sure workers need specific skills to work comedy matches except for a good gimmick rating in comedy gimmicks...?

January 27, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Harts4Life" data-cite="Harts4Life" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>Hmm. Interesting. I am playing as QAW, and had it happen with a retired Joanna Rodriguez, after she had already been on the roster (and subsequently poached by USPW ... the bastards ... have poached a few good workers of mine ...) ... luckily I was able to get her to be owner/head booker of my development company instead. I'm just getting frustrated because there are people I'd like as road agents, etc. who are not interested in signing ... and they'd have a great impact on the product! Ha ha</div></blockquote> Product probably isn't the cause then. I don't think J-Ro is overtly conservative and I don't think QAW is risqué. The wording of the rejection usually gives you an idea of the reason. Too small, too risqué, just left, etc.

January 27, 2017

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Harts4Life" data-cite="Harts4Life" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="41194" data-ipsquote-contentclass="forums_Topic"><div>I've been running into a few cases of "X doesn't want to work for (company)" ... is there any way of turning that around? Especially if there isn't any clear reason why not? (No dislikes, etc.)</div></blockquote> Issues with the product is often the culprit, although that is usually clear in the statement. Conservative workers won't want to work for a rather risqué company, etc.

January 25, 2017

Kinda disappointing grade, Sabataged.... You can do better, I'm certain.

Nice that you have Hellion, Jameson, and Hernandez all that high up on the card.

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Posts posted by Bigpapa42