Remianen

I split it in two. QAW's biggest show/season finale is Crowning the Queen. I had 8 hrs worth of content for that event plus the tournament itself. So I spread it over two days. Crowning the Queen Prelude on Saturday Week 4 July and Crowning the Queen Finale on Sunday Week 4 July. That let me get the tournament and 12 title matches (7 promotion, 5 alliance) in without skimping on match lengths.

I don't know how the mod you're playing is set up but I had a ton of problems on release with this area. I figured out that the worker AI overvalues event bonuses. You MUST match that or they won't even look at the other parts of the offer. Here's an example (click to enlarge): http://i.imgur.com/NceaWjJm.jpg In this deal, the worker wouldn't consider my offer until I matched that event bonus. Without it, she would only seriously consider CWA's offer, even though mine is vastly superior, even without the event bonus, and I have her mentor at the top of the card. If you're a sports agent, you would take my offer immediately because it's so vastly superior, event bonus or not. Since I figured that out, I don't even have to expend any effort to win contested bids. I also can make the AI overspend whenever I want since the AI will try to match all parts of the deal, even if the worker doesn't care about those areas. If I offer a high dollar amount with no event bonus, the AI will match that high dollar amount (but not the signing bonus or full total length) with an event bonus and thus, overspend for a worker. That's why CWA is paying Jaguar Queen $13,400 a month when her value is actually $4,000 a month and in 7.5 months, they haven't been able to get her above 'recognizable'. I don't want them all to fail. Just the ones who try to compete with me for talent. I especially want CWA to fail because I want Lucy when she debuts and because I'm still butthurt that they beat me for a couple workers I wanted (Faith and Jenny Playmate) because I didn't yet know how the AI contract system worked. I dislike CWA when I always liked NOTBPW (and CGC to a far lesser extent). I think CWA's product is more soulless than NOTBPW's was. Also, I'm running a women's promotion. Rising tide only lifts men's boats. (Men's side has a wealth of talent in all styles available for pennies whereas the women's side has maybe two dozen good to great workers and several of them are locked behind the ironclad curtain. Everyone else is a project to some degree)

<p>And this is why she's the highest paid worker on the roster. (click to enlarge)</p><p> </p><p> <a href="https://imgur.com/fx8G86D" rel="external nofollow"><span>http://i.imgur.com/fx8G86Dh.jpg</span></a></p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="TheChef" data-cite="TheChef" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>In 2016, I used weekly events (not annual events run on a weekly basis) and eventually everyone got too popular to the point where my rivals offered creative control and wage matching to my jobbers to try to steal them from me. Well, that led to the other companies having imbalanced wage bills they couldn't afford and the whole game world ended up destroyed.</div></blockquote><p> </p><p> That would indicate to me that the game world was set up badly. Also, with regard to what other companies offer your workers, that's just business. If you're familiar with 'poison pill' contracts in the NBA (and previously, and most notoriously, the NFL), you'll see the similarities. You know the worker so you know whether you should offer those added clauses (CC, wage matching). So if the AI is dumb enough to do it, you let them deal with the consequences. I bid up AI contracts at every available opportunity. CWA is paying a total of $27,000 a month more for Amy St. James, Jaguar Queen, Nina Cacace, Jenny Playmate, and Sally Anne Christianson than they would have if I wasn't involved in the negotiations. I've done the same thing with USPW but they have bottomless pockets so it's not THAT big a deal. It also helps that the AI is pretty dumb when it comes to negotiations in that they don't seem to ever specify a role (which has appeal to most workers), defaulting to 'Whatever is needed' even for non-wrestlers. But that's part of the human advantage.</p><p> </p><p> </p><p> Anyway, I'm trying to figure out announcer experience. According to the pregame editor, it's number of shows that matters most. So I would assume that means the number of matches and angles worked has no bearing on that? Just raw number of shows? I'm going to test it out now by having a new trio work one angle per show for 12 shows to see if they stop being penalized for lack of experience (i.e. reach 'Adequate' ). If that doesn't work, I'll have them work one match per show for 12 shows. I'm just wondering if anyone has tested this beforehand and knows for sure.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Malioc" data-cite="Malioc" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>That's interesting. I haven't used cheap dojos so far. But if cost just increases the chance to get guys with pop, then it's worthless.</div></blockquote><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="DrRDuke" data-cite="DrRDuke" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>Higher pop helps, but at that price?</div></blockquote><p> </p><p> As Malioc says, higher popularity on trainees is useless. You wind up with people at 'star' and 'major star' level who can't carry matches the way you expect people at that level to do. So you wind up with essentially a jobber to the stars.</p><p> </p><p> And if money is an overriding concern, you should never lock down a trainee to an exclusive and/or written contract because you want them to work in as many places as possible to get the most work they can so they can get better. If a prospect has something that lights your fire, sure. But for most dojo graduates, that isn't going to apply. I locked down workers as a matter of course unless they have an undesirable personality (Scumbag, Sleazy, Grifter, Egomaniac, etc) just to keep them away from the likes of CWA and USPW. That is, until I realized the AI doesn't actively seek out talent for their divisions unless they're forced to (by losing someone). Now, I leave the undesirable personas as free agents and pick the rosters of those companies as contracts come up. Even then, they don't go after free agents, rather trying to sign people who aren't exclusive. If none are available (because they're locked down to non-exclusive, long term written deals), then the AI will sweep up the detritus. Once I poach Laura Flame from CWA, they're going to sign up Ellie May Walton just like they hoovered Golden Delicious when I took Brooke Tyler.</p><p> </p><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="drock31681" data-cite="drock31681" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47568" data-ipsquote-contentclass="forums_Topic"><div>I’ve also read that the more expensive the dojo, the more wrestlers it will produce. Again, this wasn’t really my experience. I pretty much had the same results from the cheapest to the most expensive. Maybe I wasn’t patient enough with it but I gave it a year on both (I had them both in the same game kind of as an experiment) and the quality of wrestlers and the amount was overall the same. I was much more happy just making the cheapest child company and having all of my prospects trained there. Honestly in about 6 months I had pretty good results and it wasn’t draining my finances as much as I thought it would.</div></blockquote><p> </p><p> Those numbers are rule of thumb. My PC has been open for technically three years (I set it up with an opening date of 2018, before the save started). In 2020, I had 9 graduates when the note says I was supposed to get "roughly 12". In 2021, so far in March, I've gotten 3 graduates so maybe it ramps up after the save starts. Hatoyama Dojo supposedly graduates "roughly 7" workers per class and there were two in 2020. <strong><em>TWO</em></strong>. All I know is that I'm paying 375k a month to produce workers with mid 20s to high 30s basics, which makes me question how the system works. Though I should note that the 3 grads I've had in 2021 have had 52, 75, and 48 basics. I'm just going to ride it out and see how things look after 5 years. But right now, I am not happy about a maxed out performance center graduating workers who can barely run the ropes without botching.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="christmas_ape" data-cite="christmas_ape" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>Although it wasn't me who initially asked the question, thanks for that response! I think it's shown me I've been neglecting merchandise when thinking about finances/contracts</div></blockquote><p> </p><p> Oh no, I was responding to your creative control comment. In my opinion, no one should ever be given creative control unless they're on a level with the Tommy Cornells and Sean McFlys of the world (at least in the eyes of the booker trying to get them). If you're going after KC Glenn and you're going to make him your figurehead (he's a great candidate for that, after all), sure, give him CC....but only as a last resort. For KC Glenn it's especially important because he's a selfish performer so he's unlikely to offer to put people over.</p><p> </p><p> But yeah, the merchandising system is a cash cow waiting to be milked. And it seems entertainment skills are what make a worker marketable (aside from attributes). Star quality is still important but I have a random gen with godly entertainment skills (88/88/86 when she debuted. 93/93/89 now, a year later) and she's moving merch with her 79 star quality that far outstrips people with higher SQ but lesser entertainment skills.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="tomkane" data-cite="tomkane" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>4.how can i sign players from WWE (or other biggest company) - what i can offer them to do the offer more attractive ?</div></blockquote><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="christmas_ape" data-cite="christmas_ape" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>4) Obviously if WWE just have loads of money then this will often be hard. Assuming you can't compete with the base salary, you can offer them longer ones which people often like, you can give them perks such as creative control, you can promise them a certain position on the card.. all of this can help swing it but realistically if the WWE really wants them you'll be fighting a tough battle but I suppose that's realistic!</div></blockquote><p> </p><p> It really depends on the worker and how you intend to use them. As a matter of principle, I do not give creative control to ANYBODY. That's a non-starter.</p><p> </p><p> If a worker is just going to be fodder for you, you're not going to beat the big company's offer because you're not going to be willing to pay that much. However, if the worker is going to become one of your biggest stars, it's relatively easy to poach them because you value them higher than the bigger company does. That's when you can start throwing in Expected Roles like 'Icon' and such.</p><p> </p><p> I was stealing workers from CWA and USPW and SWF at will, running a then-Medium QAW. This was mainly because I wanted those workers to be top draws while the bigger company only wanted them as sideshows (women's division, managers, etc). Just looking at news reports, I've gotten:</p><p> </p><p> <strong>USPW (Large)</strong> - Alicia Strong, Raven Nightfall, Miss American Pie, Faith McGee, The Bombshells, Wendy Anderson, Gorgon, Elizabeth Cartier, Jaime Quine, Belle Bryden</p><p> </p><p> <strong>SWF (Medium)</strong> - Ana Garcia, Dulce Moreno/Emmy, Kristen Pearce, Hannah Potter, Krissy Angelle</p><p> </p><p> <strong>EILL (Big)</strong> - Lucia</p><p> </p><p> <strong>21CW (Big)</strong> - Phoebe Plumridge, Vicki Company (they let her leave, no bidding war), Kathleen Lee</p><p> </p><p> <strong>RAW (Medium)</strong> - Brittini Burke</p><p> </p><p> <strong>CWA (Medium)</strong> - Amber Allen, Brooke Tyler, Hailey Hunter, Zoe Ammis, Claire Winters</p><p> </p><p> This ties in with your question #2: Look at worker attributes. If you have a worker who is 'Easily Marketable' or 'A Marketing Dream', it's perfectly justifiable to pay them more because they will generate more revenue than someone without those traits. Brooke Tyler, for example, is 'A Marketing Dream'. Her contract calls for her to get 35% of her merch sales. Right now, she's making QAW 99k a month <em>just off merch, </em><em><strong>after her cut</strong></em>. So paying her 60k a month makes perfect fiscal sense because she's drawing money. I share Yuma Maruya with 5SSW. She makes $1060 per appearance. I use her on EVERY show (A, B, PPV). Her contract gets her 10% of her merch sales. How much do you think she draws, also being A Marketing Dream? <strong>$125k</strong>. So for the 10 shows a month we use her for (4 A, 4 B, 2 PPV), we pay her $10,600 but she makes us $112,500. This is one of the easiest ways to passively profit in this game. The way I have my contracts set up, my merchandising revenue pays for my PC, backstage perks, and roster bonuses after PPVs. That's not even counting broadcast or PPV revenue.</p><p> </p><p> "But Remi, not everyone has those attributes". True. But they're just icing though. Coco Malloy made QAW $202k in merch last month and she's only a 'star'. All it takes is figuring out how you'll be using a worker and thus, how much it makes sense to pay said worker. If the worker is appearing on every show in some fashion, it makes sense to go in higher when engaged in bidding wars. But I promise you, if you set up your roster with merchandise as a major revenue stream (and thus, you invest heavily in improving your merch operation as quickly as possible), it will pay MAJOR dividends. Not just at the cash register (or till, for our English friends) but in what it gives you the freedom to do in other areas. Go after Tommy Cornell or Sean McFly, because your contracts are set up in a way that all of your current 'star' and 'major star' contracts are actually making you a net profit.</p>

<p>Process of elimination. What was the personality of the worker in question?</p><p> </p><p> I'm actually surprised this was added but I like the idea a lot. Previously, there wasn't a penalty for releasing workers or it was the same as if you let their contract expire. Now, the game is forcing players to really think about their roster management.</p><p> </p><p> Looking at it in a vacuum (i.e. not knowing anything), I'd guess that mercenary personalities would be open to returning....as long as the money is right. Money Motivated trait could possibly add to that. Perhaps Driven and Professional as well. On the flip side, I could see Stalwarts holding it against a promotion for firing them. Or maybe I'm totally off and part of Stalwart's 'getting on with things' means they come back quickly.</p>

I'm a newbie. My first exposure to 'Welcome...." was 2005. I remember trying to figure out how he was booking shows so fast (not knowing about 'buffer' diary booking). Jeez, took me an hour to book a TV show, three hours for PPVs. And that's with no diary constraints. This series has always been one of my favorites, right up there with JamesCasey's MAW, Mark Cuban does DAVE, and Self's BSC. I knew Lucy would make an appearance. With her father as owner, it's just too good to pass up. Lucy v. Maribel, Mystery Pink, and Tommy are matchups made in heaven. Not to mention the eventual turn and matches against her father.

Probably a bad example, this. Nowadays, if a worker is concerned about being misused (or not used at all), unless they're the mercenary type, they might take that Impact offer. Sometimes it's better to be a big fish in a small pond than a small fish in an ocean. I completely agree with RocheBag but that's not how TEW works. Workers seem to value event bonuses above monthly pay, which makes zero sense in reality. In no sport in the world does an event bonus (or any bonus aside from 'signing bonus' ) get valued above guaranteed base pay. I've posted in other threads examples of offers I've made that have been poo-poo'd by workers simply because I didn't include an event bonus. Like when I was stealing Amber Allen from CWA and they offered her 9700 a month with a 9700 signing bonus and a 20% event bonus. I offered her 30k a month, 1mil signing bonus and no event bonus (because I often gave the entire roster a bonus while booking the event) and she called CWA's offer better. Maybe the workers are bad at basic arithmetic. For the OP, look at BHOTWG's offer and match EVERY SINGLE PART OF IT and then offer more guaranteed money (monthly + signing bonus). The problem you're having is that you're not matching the important bits. Give the exact same event bonus as the competing offer(s) with more money and you'll win ("Your offer is currently the only one he is seriously considering").

QAW Week 1 February 2021 World - Alina America(3) Global Tag Team - Beauty Pair (Kalliope Woodchuck & Yuma Maruya) Shockwave - Ashley Grover Future Legend - Brooke Tyler Twinstar - Meteor Girls (Yoko Ikina & Yu Hashimoto) Trios - Death Circle (Raven Nightfall, Devil's Daughter, Queen Amazon) Southwest Tag Team - Destiny21 (Maria Guest & Simony Sentinel) (2) Queen of the Ring 2020 - Black Diamond Women of Wrestling Alliance World - Alicia Strong (2) X Openweight - Katya Kornishkova Intercontinental - Christina Charisma World Tag Team - The Bombshells (Amelia Fairchild & Sweet Dani Adams) Young Lioness - Yvonne Ericks

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="thadian" data-cite="thadian" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>Where do we give wrestlers Bonuses?<p> </p><p> I looked in the "Talk to wrestler", but I guess it's not there...</p></div></blockquote><p> </p><p> Click on a wrestler's yellow text (above their picture on your roster) or click on their manager ('managed by'), popularity level ('is a major star to our fans'), or morale ('is extremely happy'). On the right side of the resulting screen, you'll see 'Give Bonuses or Time Off'.</p><p> </p><p> EDIT TO ADD: When you click on 'Give Bonuses or Time Off', the name list for bonuses has an entry for 'Entire Roster' in the alphabetical list. Just in case you want to give a bonus to the whole roster. And 'Entire Roster' is literal. So even people you've signed who haven't yet joined the company get a bonus.</p>

<p>Also, though they were for older games, I don't think the mechanics themselves would have been completely thrown out. So they may be good as a reference to at least give some context as to the game's psychology calculations.</p><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Adam Ryland" data-cite="Adam Ryland" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51106" data-ipsquote-contentclass="forums_Topic"><div>There is no 'magic number' because it's contextual - the minimum requirement is based on the match rating <em>at the point where psychology is checked</em>. So in your examples, the wrestlers with 85 could be hit with a relatively big penalty if the match rating was 100 at that point as they don't have the psychology to maintain that level, whereas the wrestlers with 82 might have only been having an 80 rated match, in which case they're Psychology is above what they need.</div></blockquote><p> </p><p> </p><blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Adam Ryland" data-cite="Adam Ryland" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51106" data-ipsquote-contentclass="forums_Topic"><div>It means the Psychology ratings of the individuals involved were not sufficient for a match of that length and quality. The longer and better the match, the higher the Psychology ratings needed. Some of the road agent notes help reduce the potential penalties (or increase the bonuses), but at the most basic level the answer to your question is that the workers you are using are not yet good enough at psychology to produce a match equal to their other in-ring skills.</div></blockquote>

Yeah, always check the first page. Also, I don't think ReapeR does logos.

First, 75 is not high enough for a spectacle. Look for 93+ (perhaps lower but 93 is the break point I chose based on my testing). Secondly, not to my knowledge. I don't think there are many people here interested in the minutia of the game to produce such a guide. I've only seen the rehab button within the decision window after a worker has popped positive for something. After they're sent to rehab, they appear primarily in the Medical section. Is there another button you're referring to?

All of 'em. Everyone from Air Raid Syren to Yvonne Ericks has worked out for me. Air Raid Syren Aki Kamio Amelia Fairchild Asami Okubo Billie Krystal Black Diamond Blair Kerrigan Brooke Tyler Cap'n Joanna Silver Cassie O'Peter Catalina Vazquez Cheyenne Coco Malloy DeAnna Desire (Black Diamond's manager) DupliKate Electric Dreamer Ellie de Grazia (the only member of the roster to beat both Alicia Strong and Missy Masterson, clean) Emiko Miyoshi Eri Sato Erin Grey Estela February Malaise Felicia Luck Gianna DeMarco Gypsy Rose Holly Leves Honey Badger Hoshiko Tagawa, Izzy Quick Joy Ryder Julia Alvarez Juliet Balconi Kalliope Woodchuck ....and on and on. They haven't all become world champ (Ellie was alliance world champ for a while after taking the belt off Alicia) but they will. And many of them are still so young (19, 20 years old) that my future's assured whenever any of my 'major stars' (who are all over 30, except Brooke Tyler, Coco, Dreamer, and a random gen that blew up) decide to hang up their boots or get injured.

100 respect, psychology, experience. People Person, Professional, Stalwart, Irrepressible, or Lively personality. Passes On Knowledge attribute. And now, 'Agent Of Old School' or 'Agent of Epics' attribute, depending on what fits your product best. Old School is probably the best since it covers more (if not all) match types.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Historian" data-cite="Historian" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51038" data-ipsquote-contentclass="forums_Topic"><div>I get what you are asking for, but I don’t think that is how wrestling companies work. It is the dedicated fan that shields them from the economy being bad and when the industry isn’t popular. It isn’t the casual fan. They are the ones who leave if the show isn’t very good. They are the ones who won’t spend their money if times are tight. The dedicated fan does both of those. They watch and buy tickets and merch even when times are low. So I don’t think works from a logic standpoint. The casual fans show up when times are good and leave when they aren’t — that’s what makes them casual.</div></blockquote><p> </p><p> Yeah, by their very nature, casual fans (of anything, not just wrestling) are "fly by night" and "fairweather" in nature. It's always been like that.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="infinitywpi" data-cite="infinitywpi" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47575" data-ipsquote-contentclass="forums_Topic"><div>I wonder how bad a team I can put in there with Mystery & Mercado and still get a good main event…</div></blockquote><p> </p><p> Don't test it! You had three very good to great workers in that tag match, even if one of them has seen better days.</p><p> </p><p> I love how you set Bullseye up to be the automatic nemesis of any former Zoners who return.</p>

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Peria" data-cite="Peria" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51068" data-ipsquote-contentclass="forums_Topic"><div>This sounds awful. They should just get a bonus for matches close to 10m with the bonus getting significantly smaller the further it gets away from 10m.</div></blockquote><p> </p><p> Yeah, though I can see why the trait can be a good thing. It's great for monster types without great fundamentals and/or stamina as it gives you a reason to use them. But many products restrict the rating you can get for really short matches. It would work awesome in IPW (Anti-Establishment Hardcore) and EMLL (Grindhouse Lucha) since matches of 10 minutes can still receive the max rating possible. Heck, now that I look, that attribute would be great for RAW.</p><p> </p><p> I signed Claire once I figured out how I'd use her. Opening match, training rookies. Since many newgens in my save tend to lack physical skills (stamina in the low to mid 40s), she'll have plenty of fodder to work through.</p>

If this is you 'off the rails', you should do it more often. I like when you step outside of the normal shapes and pull a Dali. That (WNW?) Femme Fatales belt you made some years ago (with the women's silhouette composing most of the front plate) is still a personal fave of mine!

Just ran into a situation in my game where I considered signing a worker because she looked so awesome stat-wise (Claire Winters) but then I looked at her attributes and barely avoided a major trap. Y'see, she has the 'Explosive Ring Style' attribute, which would make her useless to me as anything above an opening match level. 92 stamina.....but she gets penalized on matches over 10 minutes long. Tested it briefly on a new save and it seems the penalty gets bigger the longer the match is. That attribute is painful. It's weird because most of the other people in the C-Verse with that attribute are usually huge (heavyweights) and have poor to merely decent stamina (Mexican Beast, Hellion, Hammer Hadley, Demolition Drebin, etc). I'd be likely to sign her just to force CWA to sign Ellie May Walton or Mary Beth Chase but I honestly can't think of what to do with her. Even my monsters (Ishimura, Tai, Gorgon, Kaori Mochizuki, etc) go longer than 10 minutes. Anyway, are there any other workers who look great on paper but have attributes that make them no bueno for you?

This is closer to what I look for. Good in-ring workers will have good to great fundamentals (basics, selling, consistency, safety). If you're looking for "stars" then you additionally lean heavily on Star Quality and Entertainment skills. The primary skills (brawling, etc) will vary depending on what your product emphasizes. One thing to keep in mind is, new to TEW20, even a worker with 100 in an area can still screw up. A worker with 100 safety will still botch moves and possibly hurt opponents, it'll just be very very rare. In TEW16, 100 meant perfection. So don't be overly fixated on finding 100s.

Doubtful. Champagne Lover has been in TEW since at least TEW05 (so 15 years ago).

This. Or more accurately, as soon as I consider using the auto-booker at all, it's time to move on to something else.