LloydCross

Ensemble (and the equivalent for angles) certainly makes the most narrative sense. The whole concept is they took two companies and now have the massive combination of both rosters. They should be evaluated based on the full card. If you're just looking for the best ratings, more focus on the best match/segment will pretty much always give the best overall show grade.

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="vocalorigami" data-cite="vocalorigami" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="47811" data-ipsquote-contentclass="forums_Topic"><div>I've done four shows with ZEN and doing angles in every show to improve charisma or acting skills and of course matches and no one has improved in anything. I see people gaining pop but no one has moved in anything else. Is it just harder now compared to TEW 16 or am i just being impatient</div></blockquote><p> </p><p> Four shows is basically nothing, especially since most (maybe all) of ZEN's roster doesn't work anywhere else. Overall skill growth is slower in the 2020 version (the handbook described the changes pretty well). At least to me entertainment skills (especially Charisma) seem particularly hard to develop.</p>

I'd argue that <em>both</em> wrestlers in the match should actually lose popularity when this happens.

Or book two singles matches back to back and pretend they were a tag match?

Can you do this without getting dinged for people thinking you advertising all of those matches for the same show? I'd like to pre-book all matches of a big tournament, but it's going to require me to book some monthly events without adding all the segments.

I feel like the whole purpose of that check is to help stop you from accidentally booking the same match/angle twice. This would make completely remove that function.

I'm pretty sure TV deals are for the specific show. Are you sure you didn't start negotiating an Events deal? Just making it a B show gives it all the classification it needs. It can build worker skills and popularity. It can't build your company popularity, so free to air is probably a waste. I only had a B show once in TEW 2016 with CGC and I generally lost a little bit of money even with a bit of commercial broadcast income on it.

Comedy gimmicks and comedy matches are very much different things. It's not unreasonable that you could effectively have the dominating traits of someone's personality be comic relief but they would struggle putting together an entire match that's a joke.

Ross Henry might be a good C-verse metric for this. He's a professional football player. Based on his bio it sounds like he was quite successful but didn't have a very long career. It seems like he'd be at least a bit less popular than Rodman/Malone/Shaq/Tyson and I believe his pop is around 80 in the database.

David Boreanaz

1) Sign them 2) Have them pretend to be Macho Man 3) ... 4) $$$

Haven't had a chance to play since the patch, but based on the posts here it does sound extremely realistic, but possibly to the detriment of actually being a game with progression. Wrestling companies definitely have ceilings and distribution is a huge component of that. Regardless of how well you're doing, if the show isn't available you really can't get many more fans. However, the game functions a lot better when you actually can progress.

Maybe I don't understand what people mean by "fantasy booker" but why would someone playing like that care what the worker pop or match ratings were? If the point is to put whatever cards together you want regardless of how the game is intended can't you just...do that?

<p>2 months isn't really that long unless you're running multiple shows a week.</p><p> </p><p> Ice Cold is pretty hard to get to and really hard to get out of. Check the handbook entry for momentum and make sure you're doing things that count as interesting booking with that person. If you don't and their perception is higher than Unimportant, it tanks their momentum each month in spite of their success rate.</p>

<p>I'm still pretty into my VWA game a couple of years in, so I'm not sure when I'll get to another game. That said, I definitely have some different things I want to do at some point.</p><p> </p><p> CWA</p><p> - Probably going to play as Garcia since it feels a little wrong to stick some random character as a new booker for such a large and new company</p><p> </p><p> ZEN</p><p> - Kate Avatar seems like a good fit for them</p><p> </p><p> I also saw a 1991 mod and I'd kind of like to take a run at something like Smoky Mountain wrestling.</p>

At the very least longer contracts should be less desirable as all contracts in the game are essentially just 6 month contracts (or is it 3). I think the ideal thing would be to have the termination payout be part of the negotiation but that's probably a next version type of thing.

I'm pretty sure 5 segments of "foreshadowing" are what it takes to not be considered a "shock" turn. I think you also start getting things that are considered "slow burn" turns if you go for something like 25 or 30 segments or more.

Sex Appeal can also be used as a primary skill for managers.

Historically it's a positive backstage effect and it does help with negotiations. If BHOTG was a larger company or made a significantly better offer friendships wouldn't outweigh that though.

Or even better, you have to go into the editor and mark them as deceased.

People rarely get mad about being left off TV tapings anyway, but an angle counts as an appearance. They might lose momentum without any matches for months, but the angles could help with that. It's really a trade off. You want to leave them off the show for a while, not have them be demoralized by that, not have it hurt their momentum, and still use them on the show. Vacation is pretty much a hack that let's you get the first 3 in a not particularly realistic way, but it rules out the 4th.

To some extent that's already true. You'll get road agent notes in the match in the form "Wrestler X was penalized for stamina" for match lengths well before one where the road agent straight up stops you and says that this guy is going to die.

Personally I've never been a fan of stipulations like those or TNA's Option C. It feels wrong to make the purpose of one title be to get a chance at a different title. In theory the value of a TV title should be the payday that comes with being heavily featured on TV each week.

It was an older local hire, so to some extent they hadn't been in the business, possibly for quite a whiel.

<p>I've seen quite a few different cutoffs. For example:</p><p> </p><ul><li>a guy who could handle a Wild Brawl at 6 and not 7 minutes<br /></li><li>a guy who could handle Steal the Show 10 but not 11 minutes<br /></li><li>a guy who could handle a regular match at 5 but not 6 minutes<br /></li></ul><p></p>