KyleCamelot
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Posts posted by KyleCamelot
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I always overestimate the popularity of people in the C-Verse. Because we're nearly omnipotent bookers, we know every Tom, Dick, and Harry. but literally no one in the in game world knows who Ron Greenhorn is. Even folk heroes like Fox Mask are pretty much unknown outside of their territory. I'm from New England, where he has 1 popularity. and it's sad to think I wouldn't really know his amazing performances.
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The Skull and Bones Society is a mix between Raven's Flock and The Ministry of Darkness.
It has a lot of rotating members, but the clear leader ended up being, unsurprisingly, Adlous Black(fire).
It sort of plays vague to the supernatural elements of it, but the end goal of the stable is to "summon" Skull DeBones, who they believe will "save" the world. Of course their methods of summoning, and their idea of saving aren't exactly kind.
Eventually, I'll have them successfully summon them, DeBones will react poorly to the idea of the Society, Aldous Black will break off with some members, DeBones will lead the other members (not sure who'll be doing the wrestling part of the feud since DeBones is retired.)
I'm not sure which side will win, but it should be interesting if I even conclude the story.
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How do people book Jay Chord & Greg Gauge? They feel very much the same. Obviously could work in a legacy style team, but after that I'm not sure.
I usually make Gauge more sadistic like a Jake the Snake or a Randy Orton depending on the booking.
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Does anyone know how the borrow function works in regards to momentum and the like?
I want to make a couple of developmental territories as minor leagues, but then have feature matches of those promotions on my main promotion. Does this cause any problems if I repeatedly borrow workers from those promotions?
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Hey!
If a tag team doesn't click, isvit possible to make them click if they have a lot of match together?
Yes, I don't remember exactly the number, but with a certain amount of tag team experience, the bad chemistry is negated. You don't get positive chemistry, but you do get a bonus for tag team experience. Just gotta work through it.
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If it's just a standard show for me I usually do a bathroom break match (poorer quality and forgettable) as the 3rd to last match, and then either do Angle, Semi-Main, Main or just Semi-Main, Main.
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I wanna say there was a great list of how match aims should be used and how they are calculated at one point (more in depth than the guide,) and even then no one could figure out how to make Epic work.
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I got this Eddie Peak render here. It's great. Is there a Doug Peak render as well? Or really any Doug Peak renders?
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I'm not sure if this is technically the right place, but does anyone have a site that can tell me the storylines/results of the WWE and WCW right at the buyout and the beginning of the invasion? Or is there a good resource for past storylines in general? Thanks in advance.
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If I have a TV title, I use my secondary title for people who I don't want to hit the Main Event scene, but is going to win a lot. I find people who hold secondary titles tend to get very popular very quickly (mostly because a long reign means a lot of PPV wins) so I have a tough time using it as a stepping stone for guys since after 6 months they are ready for a main event feud.
If I don't have a TV title I basically make it a TV title: something considered less prestigious, but is an excuse to get lower card guys who can work but can't speak a lot of wins.
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I'm actually the opposite, in that I hire negative influences all the time. I feel like it's the only way to actually keep the game world active, since, if you don't just feed them bonuses, people will actually leave your company on their own (besides poaching from bigger companies.)
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1. Would you prefer for networks to rise and fall in size/scale over time or remain static?
I am very much for this. More dynamism in systems, in general, are a boon.
2. Do you prefer broadcaster sizes to err on the side of being bigger (leading to bigger popularity changes, more money) or smaller (leading to smaller popularity changes, less money)?Especially in this version, where making money (especially for the AI) seems a lot easier, I'd rather have much smaller broadcasters to limit growth.
3. Would you rather see a small number of networks where companies are competing for good deals, or a large number of networks so that everyone can potentially get deals?In the future, I would love to see networks offer deals and try to get the biggest and best programing (ala ECW to WWF.) I like the idea of smaller networks, but unless the company currently attached to them does poorly in ratings, they will keep the company even if there is a bigger fish. I'm not sure how much chance is involved for the AI to get a tv deal (would it be the same companies every time, which can be boring.) So, I guess it would depend how the companies fair with each option, but I think a small number of networks is better.
4. Do you like having generic options for YouTube-like deals, which can get lots more popularity spread over more areas for a company, but may artificially grow them to regions beyond their natural reach?Is there still an option to release your events on Internet, as opposed to DVD? I'm not sure if that was taken out. I think this just needs a rework in the game, and you won't find an elegant solution this year, and I don't really have a solution. But I think less popularity is better, generally speaking.
5. For YouTube-like deals, would you prefer to have a higher production level required to maintain those deals and act like a minimum floor for those deals to actually help companies grow, with the assumption being that not enough fans will watch low quality content to matter?Would the owner tendencies apply to this? For example, if an owner is prudent, would he be less likely to raise his production level? If so, I think this would work.
6. Should WrestleWorld be included in their current form?I think it is interesting in universe, but yeah, I don't like it for the growth of the game world once you start playing. It is realistic, I guess, similar in a way to how people stopped going to shows in Mexico in the 90s because they could watch it on tv. If WrestleWorld counted as having a show in an area, I think it could work better, as there would be regional battles and the lesser shows wouldn't gain as much popularity, which is what would happen if you had every indie on a single subscription network.
7. Should there be some unrealistically big broadcasters that are almost impossible to get on by having them be anti wrestling and with high demands? Or is that just bloating the data with almost useless data?I like trying for the unachievable, so I wouldn't mind them being kept in. Again, I don't really know the engine that well, but if there was a wrestling boom, and you were a Titanic company, would the biggest anti-wrestling broadcaster be willing to negotiate? I assume once you're titanic there's not a lot to do as far as game is concerned so it might be nice to have it in as a goal to work for.
8. Do you have any suggestions for broadcasters to be added?No suggestions, but I just wanted to thank you for constantly working to improve the game, and for CV97 which I always end up running a game in each edition.
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10 Simple Rules by James Casey made me think of MAW as more than a place for incredibly boring, incredibly skilled workers to come from, and I've played a few MAW games since then because of that.
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Not blown away, more devastated that Fox Mask never made it to Japan.
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Giant Redwood and Peter Valentine for sure.
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In the CVerse, The renders I use for Delerium and Deathwish are pretty much the same render (Not sure if it's default since I switch a lot of them out,) so most games I put them together as a jobber tag team called Separated at Birth.
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I don't know if this is an error or not but just booked a match with Matt Riddle and Shinsuke Nakamura. It was booked to 'steal the show' and go 17 minutes. It got a rating of 70 and in the road agent notes it said Riddle was penalised for inconsistency and stamina, but his ratings for both are 92 (stamina) and 87 (consistency). Is this an error where stats are somehow having the reverse effect? I can't think why else he'd be punished!
Steal the Show increases the the risk of consistency issues, and applies All-Out to the match which makes them go harder, using stamina quicker. I also think All-Out matches are supposed to 15 minutes or less for optimum rating.
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It might be tough doing, but could someone try to make Public Enemy #1 into a Greek Hero/God type thing. Could have Achilles' Mask or like a Toga or that leaf headband thing.
Thanks
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how do you guys handle having a stable leader cut a promo with his/her stable mates standing back not saying/doing anything? do you rate them on overness/menace/sex appeal? do you consider it gamey to have them not rated? do you use cameos?
I usually ask myself if it matters that they are there. Specifically I like to use the NWO as an example. There were times when there'd be 6 or 7 people in the interview. A couple of them would talk, and a bunch of them would goof around and react to the talkers, but then like Virgil or Scott Norton or Horace Hogan would just be there because they were part of the group. I wouldn't rate Virgil or Scott Norton on overness since they aren't doing anything, their presence isn't adding or subtracting to the segment, and they are really just there to get some sort of rub from being in the stable.
I actually think the NWO in its many carnations is the perfect way to showcase how the angle system works. Hulk Hogan, even if he didn't have much to say (which was rare) was important enough on screen to always be booked on overness. The Giant, when he didn't or barely talked, would also be menacing, grimacing and mean mugging. Buff Bagwell and Scott Steiner, when they weren't talking, would always be hype men behind whoever was and would be rated on entertainment, and sometimes some of them, like Scott Hall, would sometimes just stand there and smirk and be rated on overness, as well.
That's how I think of it anyway.
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<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="FINisher" data-cite="FINisher" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47578" data-ipsquote-contentclass="forums_Topic"><div>This. On PS4 and on Steam there's sometimes fairly new games at -75 to -91% sale. I don't get it, I really don't. That is why I never buy any new games, with some exceptions (Mount & Blade: Bannerlord and TEW). <img alt=":cool:" data-src="//content.invisioncic.com/g322608/emoticons/cool.png.f00d2562b2c1d873a09323753efdb041.png" src="<___base_url___>/applications/core/interface/js/spacer.png" /></div></blockquote><p> </p><p> How are you liking Bannerlord? It looked very rough (Early Access so not that surprising,) but I loved the original.</p>
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Does making a match based on eye candy limit skill growth of the workers involved?
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Is it worth having a really bad dojo/school/performance center? Is it possible to have a great graduate is say, everything is set to 1%?
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<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="KyleCamelot" data-cite="KyleCamelot" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>Could someone explain the pros/cons of A TV show on your own broadcaster vs. a Weekly Event?</div></blockquote><p> </p><p> Just trying again, though I know it's not even out yet so maybe I'll have to try both and figure it out haha.</p><p> </p><p> Also, if I went weekly event could I also have a B show? I can't remember if you need to have an A show before you can get a B show.</p>
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Could someone explain the pros/cons of A TV show on your own broadcaster vs. a Weekly Event?
TEW 2020 Small Questions Thread
in Total Extreme Wrestling 2020 General Discussions
Posted
If I owned the promotion, and "purchased" the IP, I would use that as an in game reason to increase my merchandise quality (selling best ofs of the promotion, T-Shirts of that promotion etc.) and if I ever used the old promotion's names for an event, I would edit it to be of higher importance than a new event would be.
I suppose, if you feel the purchase adds to the legitimacy of your own promotion, I would add to my promotion's prestige. If, in-universe, the purchase shows how dominant the promotion is (ala when WWE bought WCW and ECW) I would add to my promotion's momentum rating.
If this promotion has workers that aren't out of the business, I would hire them for "legend" style segments. If I were to "use" old footage on my television show, I would do so by using these workers in off-screen angles, which might not be the correct use for that, but I would consider old footage a type of hype package, I guess.
If the purchasing of the promotion would offend or make people feel betrayed, I would add those relationships to the owner of the company (Not a wrestling example, but when MJ bought the Beatles catalogue, he and Paul McCartney went from friends to enemies real quick.)
Likewise, if the bought promotion is treated with dignity and respect, and has high quality products of it put out, you may endear the workers of that promotion to your owner.
If you wanted to showcase a worker of this old promotion in a more direct way, you can edit some money out of your promotion to give a wrestler a bump is popularity and respect (A dvd is put out of a worker's greatest matches and promos with commentary on his influence in the industry.)