Remianen

<p>Sounds like an idea tailor made for the suggestions forum.</p><p> </p><p> 'Allow us to sort items in the title screen by alphabetical order, prestige, or title level (primary/secondary/tertiary/floating)'</p><p> </p><p> </p><p> Now, someone copy/paste that. <img alt="" data-src="//content.invisioncic.com/g322608/emoticons/smile.png.142cfa0a1cd2925c0463c1d00f499df2.png" src="<___base_url___>/applications/core/interface/js/spacer.png" /></p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="RocheBag" data-cite="RocheBag" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51635" data-ipsquote-contentclass="forums_Topic"><div>I mean WWE fans are constantly complaining that they don't do interesting stories and that's why people stop watching. I don't see how it's unrealistic.</div></blockquote><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="RocheBag" data-cite="RocheBag" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51635" data-ipsquote-contentclass="forums_Topic"><div>Depends what you're looking for in a wrestling sim I suppose.</div></blockquote><p> </p><p> While you're right, I think the binary nature of the requirement can detract from gameplay. The WWE example is way off though. WWE's primary problem is stop-start and 50/50, not simply the number of storylines. They have neither the patience nor the discipline to see a real storyline through. People stop watching because no story comes to a logical conclusion, they either get dropped (with no explanation) or they drone on long past the logical stopping point. That, in addition to not developing talent (or "stars", if you prefer) means no one cares about anything they do that doesn't involve a small handful of people. The fact that the fanbase can all name a dozen workers who are "underutilized" or "wasted" and the fact that the fanbase that also watches its "developmental territory" <strong><em>don't</em></strong> want several workers "promoted" (because it's seen as a step back), is testament to that. It takes little effort to have 5 storylines in a WWE save that rate over 70 if you start/stop them as frequently as the 'E does. But many people would consider that exploiting.</p><p> </p><p> Honestly, how many people are going to care if you have 5 storylines with the likes of Dolph Ziggler going at one time? His 'recent fortunes' bottomed out long ago.</p><p> </p><p> For nickjames19, the storyline requirement is easy to reach and exceed. Create a few storylines surrounding your titles (you have more than 5 of those) and rotate people in and out of those storylines, as the situation requires. You can have people in multiple storylines (just use them as 'supporting' roles with no 'aligned with' ) and as long as they cut promos on or have matches with or interfere in matches, the storyline will be advanced. If you have a particularly good backstage interviewer (80+ microphone skill), add them as a supporting role in ALL of your storylines. That way, when that interviewer does a segment with anybody in a storyline, the storyline moves forward. Or, you can just turn off strict storylines.</p>

No. Dirty tricks would apply but there's nothing that specific in the game.

You're not the owner of the company, you're only the CEO. The only way out of it is at the database level. Sever the relationship with Sinclair then start a save. It's a white whale. In my testing, in perfect conditions (100 popularity and skill workers with white hot momentum and great chemistry vs each other, each with 'legendary' standard gimmicks, with a maxed out announce team with great chemistry amongst themselves and 'voice of epics', in a 100 rated storyline, with a perfect road agent (with agent of epics), and perfect ref), you'll get a 100 rated match roughly once every 36 or so matches. Ran the test 70 times, got one 100 then ran it twice more and got a 99 and another 100. It seems the stars really have to align to produce a "perfect" match, which I guess is how it should be.

Um, what does it tell you at the end of the show? The short answer is, you're booking poorly. You're ignoring some important part of your product and that's getting your show rating dinged. You're not giving enough information for anyone to tell you exactly where you're failing though. What's your match focus? What's your angle focus? What's your core and current product? Do you have crowd management on? Are you adhering to the product's match aim requirement ("Each show will need at least one match aimed at....")? Match aim can be a big one. The penalty for not meeting that requirement can be harsh.

Also, it doesn't really matter what the majority of your angles and matches rate. It's all about the show rating. Unless your company's focus is unique (say, Main Event match focus, Highlights or Tight Angle focus), the stinker matches and angles you have on the show can drag down the show rating. Also, if you have crowd management on, your show can get dinged for doing poorly at that as well. You didn't say anything about your show ratings, just matches and angles. If you're not booking within your product's parameters, your show rating can be harmed despite putting on good matches and angles.

Has anyone seen the AI sign a rookie that wasn't a graduate of their dojo, under normal circumstances? I'm noticing that the AI just seems to ignore really good rookies, when they have a blatant need for talent. I started looking around the world at the various workers debuting and sitting in the free agent pool for months, despite being good enough to be on someone's roster. I've seen 5 Star sign rookies months after their debut but only because they fell below the minimum roster number after a USPW talent raid. And they didn't have a choice (someone's been hoarding all the talent *cough* ). FGS, they have Ellie May Walton on their roster but <a href="https://i.imgur.com/KlIr6FV.jpg" rel="external nofollow">this worker</a> isn't worth signing?!? On the men's side, even the promotions with developmental agreements haven't signed anyone for that purpose, unless they graduated from their owned wrestling school.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Ping von Erich" data-cite="Ping von Erich" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47670" data-ipsquote-contentclass="forums_Topic"><div>I've sucked the life out of TCW like a vampire and slowly fed super over, but ultimately expendable guys off my roster to SWF. TCW is solid medium size with only Hawkins left to give them an occasional top rated match. SWF is just below me in size and producing amazing shows. Unlike Vince, I like competition. Bit America a'int big enough for THREE bigtime promotions... Heh.</div></blockquote><p> </p><p> Good strat. I just don't get feeding the competition anything. As it stands, I've taken USPW's women jobbers (Missy, Wendy) and made them international stars. Same with Alicia, but she took like zero effort to build. I let them keep the QAW traitors (Jillian Jarvis, Charity Sweet) and the only regret I have is not taking Pariah and Tiffany Jade when I had the chance since they've completely botched the division to the point where they are the only ones capable of pulling decent ratings. Especially now that I've taken Sara Marie York and Melody from them. They have Shiori Jippensha, Toku Kijmuta, Estrella Blanca, and Lady Lotus that they "stole" from me (due to 'no talent stealing' agreements with 5SSW and CILL, I couldn't counter their offer) and they're all 'recognizable' or 'unimportant' still, after almost a year.</p><p> </p><p> I can definitely see the Jumbo Jacksons and T-Rex types having more value to SWF than to a human-controlled USPW though. I could also see raiding RAW for their great workers on exclusive handshake deals (Frogue Element, Luke Steele, Loxley Robbins, Maurice Jackson. Rahmel Goode is probably too old) to add some SQ heft to the roster. Put 'em in developmental for a few months and you can have a roster on par with NXT.</p><p> </p><p> Have you upgraded Reverie at all? If you're shooting for Titanic, I would think increasing coverage in Japan to Big (at a minimum) would be a good idea. Between broadcasting revenues and merch, that could pay for itself fairly quickly.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Malioc" data-cite="Malioc" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51618" data-ipsquote-contentclass="forums_Topic"><div>Or, put them in highly rated angles. <img alt=";)" data-src="//content.invisioncic.com/g322608/emoticons/wink.png.686f06e511ee1fbf6bdc7d82f6831e53.png" src="<___base_url___>/applications/core/interface/js/spacer.png" /><p> </p><p> I hired Prime Time and Dreadnought early one, when most of their co-workers were far above them. They did nothing but lose and attained very low momentum. Then I put them unrated in angles of my most over champion Landon Mallory.</p><p> After a while I noticed, that they achieved Hot momentum and even became more popular than most other mid carders. They still lost all the time. But they retained their high momentum ever since them and now serve me as high level enhancement guys.</p></div></blockquote><p> </p><p> I do something similar, except I use managers mainly (instead of headliners) for my especially promising rookies (<a href="https://i.imgur.com/KlIr6FV.jpg" rel="external nofollow">like her</a>). As you can see, she's unimportant but with Hot momentum. I give her wins over other unimportants (in dark matches) but she also does angles (rated when on the preshow, not rated when on the main card). In two months, she's become fluent in English and Spanish (in addition to her native Japanese) and her entertainment skills have increased by 1 each. Kathleen Lee is my 5th most popular manager and her stable consists of rookies and Laura Flame (who is only well known).</p>

<p>The only possible workaround is to set everyone who has left the business back to their original status in the editor before starting a game. I did that prior to the game's release with a lot of BSC's workers (the Neptune Twins, etc). I missed some (boy I could really use Honey Golightly and Sweet As Candy right about now) but my next save will see that rectified.</p><p> </p><p> </p><p> I'd be all for allowing you to talk a worker back to the business, as long as the parameters are set correctly. You don't want Small companies on WrestleWorld being able to coax Champagne Lover back to the business, for example.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="redhilleagle" data-cite="redhilleagle" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51545" data-ipsquote-contentclass="forums_Topic"><div>Should I or should I not ask what this is?</div></blockquote><p> </p><p> Poison pill contract is when you put together a contract offer specifically to screw with competitors. Add stuff like creative control, wage matching, hiring veto, massive contract length, and of course, really high monthly wages. If you time it right (i.e. right after the competing offers add those clauses), you can cancel your offer and the other company (or companies) are stuck with them. So whoever wins the "bidding war" has a worker with a WCW-esque contract on their hands. It works better when there's only one competitor (because once you cancel your offer, the worker defaults to/auto-accepts the other offer). I only figured this out when I was trying to come to grips with TEW20's contract system. I threw everything into the contract to see if anything (besides more money, which <strong><em>doesn't</em></strong> work) would make a worker favor my offer over the other company (usually CWA). Before I figured out it was the event bonus, I offered Nina Cacace and Jenny Playmate all the clauses AND more money but no event bonus. When I finally figured out what the sticking point was, I couldn't remove those clauses from the offer (the worker will complain about it). So I left them in, CWA countered, and I canceled the offer when it popped up for confirmation. Given how the AI is allowed to cheat on contract offers, I say we're even. (For example, if you offer an ironclad exclusive written to a low tier or largely unknown worker, they'll ask for a minimum of $15,000 per month. But the AI can offer those people MUCH less and it'll be accepted)</p><p> </p><p> Now I fully expect this to be changed at some point, but the same exact strategy existed in TEW16. Creative control isn't much of an issue for the AI since it's allowed to cheat and get loaned workers (who have built in creative control) to take losses to MUCH less popular workers. But wage matching? That's a killer.</p>

This is a great point. Maybe the company (or companies) the worker actively works for should have a heavier influence on the development equation. Like, I have Monster Ishimura on my roster with an episodic lucha libre product. She also works for 5SSW but she works for me far more often. As a result, in a year she's gained 15 points in Aerial and 12 points in Flashiness while only 6 points in Brawling and 4 points in Puro. But, given the similarities of our products, she's gained 11 points in Technical as well. That seems to be more along the lines of how things should work universally. That is, continue to improve your strong area but focus on the skills that increase your value to the product(s) you're currently working in.

In my tests, I've been able to narrow down some factors and that led me to workers valuing event bonuses WAY more than they should. That was the only thing the competing offers had over my offer. Once I matched the event bonus, my offer was far and away the best and the worker didn't even consider the competing offers. My contract template is always the same: 10 year length, 30% merch, and I usually double whatever the default amount is (rounding up if necessary) with a $1 million signing bonus but I don't cover travel. EVER. If it's a largely unknown worker who demands $15k a month for ironclad exclusive written, I give it to them. Part of the reason I'm making so much money every month is because almost everyone on the roster is underpaid. Heck, I signed Amber Allen in June of 2020 for $50k a month and 11 months later, her value is over $232k. I should note that my situation is very unique in that the AI will almost never pay a female worker on par with a male one, due to the 'division bias' (as I call it). Even if said division is carrying the company and producing the best matches week in and week out. But that's probably why the likes of CILL, CZCW, and ACPW are putting on cards rated in the 90s and CWA struggles to hit or exceed 83. Oh and maybe I shouldn't divulge this but, the 'poison pill' contract is alive and well in TEW20. You can really screw up a competitor with contract offers.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="HarmonyOfDissonance" data-cite="HarmonyOfDissonance" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47721" data-ipsquote-contentclass="forums_Topic"><div>SO FREAKING CLOSE.</div></blockquote><p> </p><p> I would recommend not even worrying about it. It seems this year, 100 rated matches are meant to be bolts of lightning out of the blue. The same workers I have who can bust out 99 rated matches like it's funny, seem completely incapable of doing better than that. </p><p> </p><p> Here's something funny (click to expand):</p><p> <a href="https://imgur.com/yKhaAJu" rel="external nofollow"><span>http://i.imgur.com/yKhaAJul.jpg</span></a></p><p> </p><p> I realize the AI is stupid and thus, must be allowed to cheat on a regular basis but they just derailed my storyline plans for the X Openweight title due solely to their cheating allowance. Katya had 99 popularity in Kansai, Machiko had 92. If I had tried to book that result with a loaned worker, they would've invoked their creative control to block it. <img alt=":mad:" data-src="//content.invisioncic.com/g322608/emoticons/mad.png.69834f23b9a8bf290d98375f56f1c794.png" src="<___base_url___>/applications/core/interface/js/spacer.png" /></p>

Visual aid since this question gets asked a lot. (It's a thumbnail. Click for the full sized image) http://i.imgur.com/XmfmUz4l.jpg

No. TEW is a booking simulator game. There really aren't any 'owner only' mechanics to speak of. You can sorta simulate only being the owner by just autobooking everything and then changing what you want to change (like Vince does).

<p>Request</p><p> </p><p> </p><p> QAW Trios</p><p> QAW United States (modelled after the new WWE one)</p><p> QAW World (I'm thinking something akin to the AEW World title but not the same. Just the different aesthetic of the multiplated front plate. I dunno, get silly with it).</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="miz468" data-cite="miz468" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47520" data-ipsquote-contentclass="forums_Topic"><div>Haha I mean I don’t have to turn him heel, but I just think about if this situation played out in real life. You’re right though I could go either way with it. I just had this iconic image in my head of Jay Chord winning his first ever World Championship days after his dad passed and celebrating in the middle of the ring. Plus, there’s a built in storyline there of Greg Gauge turning on Chord for his weakness (I have them in the same stable). I’m gonna take the day to think about it.</div></blockquote><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="miz468" data-cite="miz468" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47520" data-ipsquote-contentclass="forums_Topic"><div>Yeah I love the idea of him turning during the match. Wolf is the current babyface Champion and he only turned heel back in September or so of last year.</div></blockquote><p> </p><p> I dunno, I just think that whole schtick is old and tired. Something bad happens in a bad person's life and all of a sudden, that makes them a good person or worthy of sympathy? Doesn't work that way in real life. If your enemy's father dies, is he no longer your enemy? Or do you still want to pound his face into a fine paste? Pay your respects to his father but he's not his father. Thus, he should be made to pay for his transgressions, not let off because his dad shuffled off this mortal coil.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Vinsmoker" data-cite="Vinsmoker" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51588" data-ipsquote-contentclass="forums_Topic"><div>Did you put 0 points of your User Talents into "Creative"? Because if what you're saying is true, that's the only way you could possibly recieve such a massive negative gimmick outcome.</div></blockquote><p> </p><p> You'll also have better luck with workers with the 'Creative', 'Very Creative', or 'Creative Dynamo' attributes. I had a random gen worker with the 'Creative' attribute debut her 'Amazonian' gimmick and immediately get 'Legendary'. Etsuko Arihyoshi (Very Creative) got Legendary with her Wrestling Machine gimmick too.</p><p> </p><p> I tend to get good results when assigning/changing gimmicks but I also don't move the dot at all. I leave it right in the default position.</p><p> </p><p> When these people you get poor gimmick ratings for debut, do you just throw up your hands and do nothing? Or do you try to tweak the gimmick at all? If a worker has no 'plays X well', stick to Standard category gimmicks. And pump up your Creative user ability. This is precisely what it's for (turns and gimmicks).</p>

No. A child company is completely dependent on its parent. Workers benefit from having actual booked matches in front of crowds more than any other method of training. The purpose of a B show is not to gain popularity (it doesn't) and not to make money (though they can), it's to give workers an opportunity to work booked matches in front of crowds. Workers can improve by working house shows but at a much slower rate than a B show or developmental show. The whole 'drip feed' mechanic means it often takes a year to see results but you can see when progress is being made. Also, B shows are good for circumventing drip feeding. Mentor-protege exchanges aren't subject to drip feed so the more shows you have, the more opportunity you have for these events to happen.

You have to be medium sized at a minimum. They have to be available to work in your home area. And you have to have a minimum of Medium broadcasting coverage over said home area. I would guess prestige and momentum would factor in as well but that's not what I focused on. Basically, no one's going to drop what they're doing to come work for your YouTube championship wrestling company. You're missing one. Put them in successful angles. My refs and announcers are Red Hot or better and none of them have any wins, turns, or time in developmental. It's strictly through angles (Announcers hype 1v1/2v2/3v3, etc). My child company runs a 'constant' schedule, so 3 events per week, all on PPV. It hasn't been open long enough for me to make any determination on worker skill gain rate but the drip feed method is going to prevent anyone (outside of prodigies) from seeing explosive growth. To keep your non-wrestlers from asking for callups, increase the size of the company. One reason I'm running a constant schedule is because I want the company to grow quickly. Adding them to my alliance also gives them access to workers on my main roster (some of them shared with alliance mates) who hold the alliance titles. But people will stop whining about being called up when the company grows in size. Mine jumped from Tiny to Small and the likes of Cat Jemson (who had been unemployed for 1.5 years) stopped whining about being called up because the child company was "too small". But with the 'trainer' designation gone, I'm expecting to hear some whines from the older workers. Negative personalities are completely negated by a multitude of positive personalities. For example, here are the terrible personalities I have in my locker room currently: Selfish - Julie Forletta, Rika Tsujimura Gloomy - Ruby Reece Insecure - Akemi Shiskikura (Hatoyama Dojo grad), Jaime G Troublemaker - Becca Barton, Fuyuko Higa Agitator - Hellcat Hernandez, Honey Badger Grifter - Darkness Cat Loner - Julia 'Juju' James (QAW PC grad), Toni Parissi, Unstoppable Tai, Zofia Jankovic I haven't had a single negative incident from any of these workers. Not even a Wrestlers Court incident. But the vast majority of my roster is full of 'People Person', 'Irrepressible', 'Lively', 'Professional', 'Stalwart', 'Relaxed', 'Class Clown', etc and everyone is 'Extremely Happy' aside from new arrivals (who are 'happy' and 'very happy', respectively). I think it all comes down to proportion. If the majority of your roster is positive, then adding a few bad apples won't spoil the bunch. Also, adding a few enforcer types (Born Fighter) might also help a bit.

Check their attributes. There's one (Itchy feet?) that contributes to workers wanting to leave, regardless of morale. Or, they don't want to feel stuck in a rut. OR, from a mechanical perspective, to add value to the iron clad clause. No one's going to lock a worker down (for that much higher price tag) if they know the worker won't leave anyway. By contrast, I've taken Isabella Encanta from where she starts (barely recognizable in one region of Canada) to 'major star' worldwide, and she still won't hand in her notice to ACPW. So she costs them more per show than 4-5 of their male main eventers (all of the females are shared with me so....) and they trot her out for an angle (just one - ANGLE: An interview with Isabella Encanta) every show. No wonder they're burning through $130k per month. There are some features/mechanics added that exist solely to keep the world from being static. You remember in past games when nothing would ever change and every now and then, a worker would get released or non-tendered that could be a huge star for a human controlled indy. This seems to me like one of those things. It adds a challenge (often from left field) for human players that really didn't exist to this degree previously. What annoys me is when workers who only work for one company hand in their notice and then sit unemployed for sometimes a year or more. That just seems dumb to me.

Dunno why they did it. CWA is dirt poor ($3.8mil at Big) so I don't see how they could land him unless 21CW just wanted him to leave.

This is gospel truth. Srsly. Go into the pregame editor and mass edit the entire database's retirement ages UP (like to 45 or something). This is especially true if you're playing one of the women's promotions (5SSW, QAW). Some people will scream "realism!" but in the game, when a human takes over a company, it's like strapping a rocket to it. The AI is.....less than intelligent when it comes to creatively booking a company on a path to growth. Under those circumstances, few workers are going to quit when they see the company doing very well. No one wants to be Ron Wayne or Pete Best or John Opel or George Bell. Oh and the Mexican company you're referring to with the comic book style product is EMLL. EILL is the huge sports entertainment company in Mexico. If you're looking for a smaller company with a non-workrate based product, try EWA. It gives you the opportunity to play a traditional (if dated) form of Sports Entertainment where you'll do much better numbers with your angles than with your matches (typically). You can also try CILL as they're a small company that really benefits from a human running them. It's more workrate but almost 50/50 with popularity.

So, revert back to TEW13? People cried bloody murder when they'd jump to Cult (Medium in TEW20) and their Misc costs exploded for the very reason you state (taxes, costs involved with running a REAL business, etc). What was the old strategy? Sit at Regional and build up a huge nest egg and try to blitz your way through Cult. I think the expanded era settings allow people to customize the game to fit their idea of 'realism'. Cut TV and PPV revenue by 50-75%. I am totally onboard with meddlesome owners though. Give them an 'Interference' stat or attribute, like in Football Manager.