Remianen

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Masson26" data-cite="Masson26" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51492" data-ipsquote-contentclass="forums_Topic"><div>My problem is the one i have runs like shit if i have TEW and a web browser open at the same time</div></blockquote><p> </p><p> I don't know what the specs are for your current computer but TEW runs on pretty much anything above a baked potato. Right now I have TEW20 open alongside Chrome with 70 tabs open (YouTube videos, forums, Patreon, etc), the Steam store, and Irfanview and I'm not having any slowdown at all. Any modern prefab computer you'd buy from Best Buy or the like will run TEW as smooth as glass (DO NOT buy 'notebook' computers).</p><p> </p><p> My 3-year old laptop's specs are:</p><p> </p><p> i5-6300HQ, 16 gigs of RAM, GeForce GTX 960M, 512 gig SSD, 2TB external drive</p><p> </p><p> Those specs would probably run $500 nowadays (external drive not included), if that.</p>

I've played three saves so far (two beta, one post-release) and in every single one of them, USPW has floundered. Running QAW in 2021, I'm the #1 company in the world since USPW fell to Medium in February of 2021 and they're still bleeding popularity. I raided their women's division (and signed the non-tendered Baby Jamie), taking away Alicia Strong, Raven, Miss American Pie, Faith McGee, The Bombshells, Wendy Anderson, Gorgon, Elizabeth Cartier, Jaime Quine, Sara Marie York, and Belle Bryden (who now runs my development territory) and we're currently in the midst of a bidding war for Melody (their current women's champion). They've replaced those losses with Estrella Blanca, Shiori Jippensha, Lady Lotus, and Toku Kijmuta. But, they've also managed to land Sean McFly (at a 50% markup due to a bidding war), Valiant, Spencer Spade, and El Leon. So they're not hurting for talent. The problem is the same as it's always been: the AI just flat out doesn't know how to book. Here's where the slide started: Human players wouldn't screw up what should be a marquee matchup in the promotion (Frehley's babyface, Money is heel btw). By the end of January, they had lost 6 points of popularity in the US. Now in mid-April, they're big enough to jump back to Big but their cooling down period has 3.5 months left to run. Now they're at risk of losing Frehley, being caught in a bidding war against CWA (not a threat, they have no money), SWF (Frehley hates Richard Eisen, not Jerry), TCW, EILL, and BHOTWG. (If I was an a-hole, I'd make him available in the UK and 21CW would join the mix but I'm not THAT bad.) In the hands of a human player, this wouldn't be much of an issue. But the AI seems incapable of booking what should be a roster that borders on cheating. Also, the AI just doesn't actively seek out improvements to its roster. Darryl Devine has been a free agent for almost a year now and he'd fit right in back in USPW but they haven't gone after him. He's got a troublesome back but he's still got the skills to work with those people fresh up from developmental or new signees.

Good point. I like this year's version because for years, I had the same exact product with minor adjustments to account for changes from game to game. Traditional, Mainstream, Modern, Lucha Libre - Key Feature, Realism & Daredevil - Medium. It remained "the best" for workrate, sponsorship, and broadcasting. I've tried several products in TEW20 and I've learned that Episodic Lucha Libre is a near-perfect continuation of my old product. Guerrilla Warfare and Fast n' Furious have more cons than pros and everything else is just......no. Many "casual players" had little clue on how the old product system worked and would just crib products from the annual product thread based on what was described. Or create a thread asking for product advice. I'm not saying there's anything wrong with that. What I'm saying is, most people weren't experimenting with product combos to see what worked best for them. They were, in essence, doing exactly what TEW20 has simplified: pick a product that sounds like something you'd like to do and run with it.

Do these workers show up on any of your lists in the Creative section? Even with declining popularity, if a worker is listed as a Ring General (for example), Rhodes might think them more valuable than you do. I don't think their morale would have much to do with his decision though because that's a problem you created. Check their contracts to see what terms he gave them. Sometimes when this happens, the worker gives a bit of a discount but it's also not uncommon to have the owner/CEO give them dreaded clauses (creative control, wage matching, etc) or bonuses. But just like they can block you from signing someone, they can similarly re-sign someone you didn't want back. I don't necessarily think there's a single reason why though.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="DrRDuke" data-cite="DrRDuke" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51105" data-ipsquote-contentclass="forums_Topic"><div>Kichi was great for me in my ACPW fed...she's since moved on to bigger things. Keep an eye on Aki Tsuji as well...gem on the mike and I had her and Kichi teaming up and they were a fun team. Sarah Taylor was great for me too...two current standouts are Honey Badger and Ava Anderson...with Romi Yamamoto an up and comer.</div></blockquote><p> </p><p> Who is Aki Tsuji? That sounds like a random gen/dojo graduate. Or maybe you mean Aki Kamio?</p><p> </p><p> I don't split up tag teams and often treat them as a single entity. So if Lily isn't improving as well, I don't see Ava as improving. They're still one of my top teams but I don't book them as individuals. I'm moving away from that with Honey Badger because I'm really ambivalent about Marie Punnen. Right now, I treat her as the Sammy Guevara of The Furies. I added Erin Grey to the stable, with Julia Alvarez as the manager so in multi-person matches, Marie is taking the pinfall or tapping out. Honey's the current project Nakajima says she wants to work on so Marie will probably fall further behind.</p><p> </p><p> Yvonne Ericks has also been a revelation. But maybe that's Jaime Quine, Claire Winters, and Brooke Tyler's influence.</p>

Christy Higgins as well (as Christina Higgins).

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="WCGreyghost" data-cite="WCGreyghost" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51436" data-ipsquote-contentclass="forums_Topic"><div>Sigh. There should be a better way than manually monitoring each worker's skill. And maybe knowing when they've gotten all the increases they are going to get, so someone else can have the slot in the PC....</div></blockquote><p> </p><p> The "problem" is that several of us have complained for years about the sheer number of emails we get about various things. This year we have filters so we can decide what we want to actually see. So I wouldn't be against adding performance center status updates.</p><p> </p><p> But with only 14 slots, I find myself checking on people every week to see if they've progressed to the point where in-ring experience can take over. And I don't think, short of reaching their maturity age, that there's ever a point where workers stop receiving increases. They just get them much slower. I use my PC for those workers who debut with substandard fundamental skills. I'm not putting anyone with 33 safety in a match with any workers I care about, after all. And since the AI doesn't sign women's workers to develop (but oh how they'll try to jump on them after you've shined them up a bit), I sign them for the future.</p>

<p>The AI has always cheated. Going back as far as TEW05. These cheats make up for the fact that human players have almost all of the most important advantages. I don't like it but I realize that the AI needs a crutch (several of them, in fact) in order to stand any chance of being competitive. And even with those advantages, the AI gets its head handed to it most of the time.</p><p> </p><p> It's like how people complained about how "OP" USPW was in beta. They've got tons of money, a massive TV deal, and a stacked roster. Yet in both my beta saves and my current post-release save, they can't help but drop to Medium because the AI is stupid. I've beaten them at every turn. With <em><strong>girls</strong></em>.</p><p> </p><p> It's like racing a kid with a club foot. You've gotta give him a head start otherwise you're a bully.</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>So I’m building to Total Mayhem XXV in 2021, and I’ve been building Jay Chord as the biggest heel ever leading to his coronation as World Heavyweight Champion. <p> </p><p> It’s Tuesday, Week 4, May 2021. I’m about to book the go-home show for Total Mayhem, and Rip Chord passed away. I almost feel like I have to turn Jay face??? But there’s been no build up?? What do I do?????</p></div></blockquote><p> </p><p> Why exactly do you have to turn Jay face? If he's going to be the biggest heel ever, why not have him cut a promo disparaging the old man? That would get him nuclear heat. "All you people know is the Rip Chord you saw on TV. You never had to deal with your father coming home, reeking of alcohol or the absentee dad who never came to your baseball games because he was constantly hung over. I got into this business not because of my father but <em>in spite</em> of him. Whether any of you *air quotes*fans realize it or not, I am better than my father, in every way. And this Sunday at Total Mayhem, I'm gonna prove it. To you, to him, and to everyone in that locker room." There. Heel promo. Reel them in with the sympathy angle then punch them in the gut and end on a bombastic prediction (or spoiler, if you will).</p><p> </p><p> What's with the sentimentality? It's much harder to create a compelling heel than a babyface. Without 'Die Rocky Die', The Rock would've never been born.</p>

<p>Got a new one:</p><p> </p><p> Kichi Mochizuki</p><p> </p><p> </p><p> So far, she's had Alicia Strong and Megumi Nakajima offer to put her over and she's managed to go beast mode. Drip feed is restraining her skills from properly being reflected but she's been improving by leaps and bounds.</p><p> </p><p> Now Little Miss Perfect (Sarah Taylor) is doing well also but she's lagging behind in some key categories (psychology, aerial, flashiness). However, LMP is 40% toward the Hall of Immortals and Kichi has 0%.</p>

I don't expect Ellen to know this but dealing with egotistical people is actually really easy. You just appeal to their ego. With Svenja, all she had to do was explain that you needed to establish someone as a future nemesis. "If we put the title on you right away, it'll be impossible to get it off you later if you don't have a nick on your record." Every great heel needs a babyface arch-rival (and vice-versa) or else you don't draw money.

<p>Mine isn't that impressive but we do alright. Given the top heavy nature of my roster, I think once I get to level 7 or 8, we're gonna be swimming in money (when we can sell worker-specific merch outside of our home area).</p><p> </p><p> Oh and it's a thumbnail (didn't want to warp the thread) so click for the full size picture.</p><p> </p><p> <a href="https://imgur.com/mL10EFF" rel="external nofollow"><span>http://i.imgur.com/mL10EFFh.jpg</span></a></p><p> </p><p> <a href="https://imgur.com/OUlBt4q" rel="external nofollow"><span>http://i.imgur.com/OUlBt4qh.jpg</span></a></p>

What is Jett's morale? I have two Agitators on my roster (Hellcat Hernandez and Honey Badger) and they're both flat 'positive' influences backstage. But they're also 'extremely happy' and have been so for over a year, which might explain that to some degree. No. The trait says "The worker will not become available in new game areas (other than via an excursion)". You're thinking of 'Deep Roots'.

Queens of American Wrestling: Best of 2020 10. QAW World Championship Match Triple Threat Match Alina America © vs Raquel Alvarado vs Paige Croft QAW The Three-Way Dance, Dec '20 Rating: 84 9. WoW World Championship Match Alicia Strong © vs Raquel Alvarado in a QAW Lucha Rules match QAW The Showdown, Jun '20 Rating: 85 8. QAW Global Tag Team Championship Match Guerreras del Ring (Mariana Torres & Pinky Perez)© vs Lilly & Rose in a QAW Lucha Rules Tag Team match QAW Amazon Attack, Sep '20 Rating: 85 7. WoW X Openweight Championship Match Little Miss Perfect © vs Missy Masterson in a QAW Lucha Rules match QAW Main Event, Wk 4 Jul '20 Rating: 85 6. WoW World Championship Match Alicia Strong © vs Foxxy LaRue in a QAW Lucha Rules match QAW Saturday Night Fever VIII, Nov '20 Rating: 89 5. Steffi Chee vs Megumi Nakajima in a QAW Lucha Rules match QAW Main Event, Wk 3 Dec '20 Rating: 89 4. QAW Trios Match Alicia Strong and Sweet & Savory (Danielle Sweetheart & Missy Masterson) vs. Etsuko Arihyoshi and Payback Inc QAW TriosMania, Oct '20 Rating: 90 3. QAW World Championship Match Alina America © vs Becca Barton in a QAW Lucha Rules match QAW Thanksgiving Thunder, Nov '20 Rating: 93 2. WoW X Openweight Championship Match Missy Masterson © vs Raquel Alvarado in a QAW Lucha Rules match QAW Thanksgiving Thunder, Nov '20 Rating: 99 1. WoW X Openweight Championship Match Missy Masterson © vs Raquel Alvarado in a QAW Lucha Rules match QAW Saturday Night Fever IX, Dec '20 Rating: 99 BONUS MATCH "The Franchise" meets "The Unforgettable" as Brooke Tyler takes on Christina Charisma in a QAW Lucha Rules match from an episode of QAW HEAT Dec '20 Rating: 84 PLUS! The year-end Best of 2020 Legends Roundtable featuring Sensational Ogiwara, Commissioner Bomb, Grace Harper, Crusher Ichihara, Miss Mexico, and "Starmaker" Kit Hatoyama.

These don't actually sound so bad. My user character would be considered 'overpowered' by some because his entertainment skills are maxed (but his popularity is low, 40-50). I use him almost solely as a backstage interviewer, emergency road agent, and emergency color commentator. In the past, I've used him as an authority figure but extremely rarely (usually only in RTG saves). He's like a better looking, better built Mene Gene Okerlund. I've given some workers loyalty where it makes sense. For example, Ashley Grover when I take over QAW. Given her biography, it makes perfect sense to me. I could possibly max out Hatoyama Dojo, since I'm paying Kit so much money, it would make sense that she'd upgrade her school. One of my quirks is, I don't fire people. Ever. That's why I'm so particular about who I hire. I've activated some of the BSC crew in my current save (the Neptune Twins most notably). In TEW16, Honey Golightly and Sara Silver were my B show announcing crew (usually with a later-added commentator like Emily McQueen or Ana Garcia). And oh boy, I've held grudges over multiple games on several occasions. I've also developed an affinity for certain workers that have lasted for over a decade. For example, Kinuye Mushashibo and Jana Marie Bowen will always be booked strongly because they were my top tag team......in TEW05. They developed so quickly and to such a level that they nearly maxed out, statistically. Megumi Nakajima is similar in that she's always drawn ratings for me, since she was first added to the game.

<p>You don't hire trainers for training facilities. The quality of the graduates is largely determined by the quality of the training and facilities (pay more, get more).</p><p> </p><p> The dojo or performance center generates its own graduates. The only one you can actually send people to is the performance center.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="kg04" data-cite="kg04" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>oh okay, started the game prior to that patch then, any way to fix it in an older save?</div></blockquote><p> </p><p> Once you apply the patch, those people with stuck momentum will have their momentum counter reset.</p>

I do this all the time since I figured out how the AI treats contract offers. I haven't bankrupted anyone (yet) but there are a ton of women in CWA and USPW who are vastly overpaid (2-3 times their actual value). I have a rule in all my saves: once you leave, you can't come back. So, for example, people like Jillian Jarvis who bailed on QAW find themselves unwelcome in the largest company in the world. Jillian's contract just came up and I'm letting CWA and USPW fight it out over her. I'm almost tempted to bid the price up but then that would be breaking my own rule (I'm not even going to give you the courtesy of a phone call). Especially since I just poached Sara Marie York. I make a couple of exceptions for The Bombshells (who didn't exist in TEW16), Celeste Moon, and Maribel Mercado. So when the likes of Amy St. James, Jaguar Queen, Estrella Blanca, Bam Bam Kijmuta, and Lady Lotus come up for renewal, their options will be limited to CWA, USPW, 5SSW, and maybe OLLIE (assuming they win the inevitable war with EILL).

Are you familiar with how networks work? There is no internet broadcaster that has the actual reach of a primetime (i.e. terrestrial) network. Yes, YouTube has the potential to surpass the reach of say an NBC or CBS or ABC or FOX but they don't produce the same numbers (the numbers advertisers care about). And no internet broadcaster produces the firm, substantiated numbers of a cable network. It's a hierarchy. There was a reason WWE was over the moon when Fox was interested in their programming. WWE Network (internet subscription) doesn't produce the numbers of USA Network (cable commercial) which doesn't produce the numbers of Fox (terrestrial commercial). Given the cost of starting a real network and the game's money cap (999,999,999), I think that's why you have to create a cable or terrestrial network before the game starts. Otherwise, you'd never have enough money to create it ingame. It doesn't need to be looked at. It's set up that way for a reason. We have the option of setting up our own broadcaster but it's not meant to be a replacement for existing broadcasters. It's just an additional option. At some point, you can always shut down your network and get a show on a bigger carrier option.

I don't think so. I've only run through about 10 saves or so but no matter what size I was or how much money I had in the bank, I was only offered Internet broadcasting options. I guess you could give yourself a cable or terrestrial network prior to starting the save (in the pregame database) but I don't know if that's the only way.

The AI doesn't use the 'usage' field, from what I've seen. They always default to 'whatever is needed'. So usage is a human advantage. My contract templates all look the same. Exclusive written or written (for shared workers), 10 year length, ironclad clause, whatever the default amount is (which is often adjusted), no travel cover, 25% of merch and then I customize depending on the worker. If it's a non-wrestler type, I start with 'never involve wrestling' and change it depending on the worker's available roles. Then I match the event bonus and looking at the competition's financial position, I'll adjust the wage and signing bonus to exploit their weaknesses. For example, CWA is cash poor so a big signing bonus will get them to back off quickly (or try to adjust minor aspects of event bonus or merch percentage) whereas USPW is cash rich so I have to strongarm and go in with big numbers that make them back off. I never offer creative control, wage matching, or hiring veto. Ever since I figured out how the AI works, I haven't lost a single bidding war, though I have dropped out of some (or let them time out so the worker definitely takes the AI's offer) to leave the AI stuck with a bad contract.

Well yeah, there are diminishing returns built into PPV buys. I believe it was called 'event exhaustion' or something. Basically, your fans can't afford to keep paying multiple times a month. I typically run 8 TV shows (4 A, 4 B) and two PPVs per month and the numbers I get are as expected (i.e. steady growth with the popularity gained). Since TEW16, you simply can't effectively run a schedule like TNA did when they started. Diminishing returns will kill you around the third show of the month. My advice is stop running events on PPV for a month and see if it returns to normal.

I do this at the database level before starting a save. My current save, I moved Missy Masterson from wasting away in USPW to headlining for QAW, and then I started the save. I also brought several people back to the business (the Neptune Twins, for example) and added them to the roster. Given the current data, I should probably go through and do that to a lot of other workers, just to give the women's scene a bit of a boost at game start. Yeah, this makes perfect sense to me and I've always done the same. Teams that are established would typically have synchronized contracts. Wild Times, Good Lookin' Bunny, the New Wave, and so forth. I have a list of real world moves that I create and rename in the game to use for my workers. I really dislike workers with finishers that stretch believability to its breaking point (belly to belly suplex, bulldog, etc). I also often give workers their mentor's finisher as an 'uber finisher'. So I have things like the Hatoyama Driver and Hatoyama Driver II (Michinoku Driver), Thunder Hike's Concrete Knot ( ), Kira Lee with the J-Rocker, Black Diamond with Gail Kim's Eat Defeat, and so on. The one big thing I do, and I've done since we were given the option to do so, is change the maturity age of all the women in the database to max (30). It always used to piss me off when some talents would just stop progressing in their early to mid 20s. I also set the retirement age to 45, since there are several useful talents who start the game pushing 40 (Viper McKenna, Connie Morris, Geena, Raven Nightfall, Steffi Chee, Eve Grunge, etc) but that can still teach and have good to great "soft skills" (psychology, selling, consistency, safety, etc) even if their "top line" skills aren't going to see any further growth.

At this point, I think it's intended. But this just gives human players yet another advantage in that we can bid up workers and leave competitors with bad contracts. And if we really want a worker, we know exactly how to get them.

One year. Book one show that's off the hook good and its prestige will go up. I would guess that diminishing returns kicks in after that first increase but I'm not 100% sure yet. I just know I have four events at 'above average' when previously, it was only one. I don't much care about how prestigious 'Prelude' is, since it's not the main focus. It's like how Vince doesn't care what Takeover does when he's focused on ruining Mania the next day.