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The Official TEW Booking Thread!


shawn michaels

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After having this brilliant idea...i will now put it to work! THis thread will be for any of the TEW versions. Here we can discuss our booking strategies: what we do,why we do it, how it works (or doesn't work), and all those things. We all know that everyone books in a unique way,so this will be interesting. It may also help me in a particualr matter. When playing with a large company i tend to take a lot of time to book a show. Do any of you know any tricks to reduce the amount of time i loose booking a large promotion? Anyway,i think it will be fun to see us all discussing our own booking techniques.

 

Well, let's begin the discussion! Here...booking is all that matters!

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The way I usually book a show is probably very wrong, but it's usually quite simple:

 

Opening Match (a good one to start off the show)

One to three filler matches. Including the last on before Semi-Main Event being quite bad.

Semi-ME (next best or third best, depending if I have strong opener.)

Main Event (best one)

 

If I have an angle that I know will do good I will usually put it in-between Semi-ME and ME, not sure if this helps my show or actually makes the ME worse, what do you all think?

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well with RPW I just spammed the hell out of Holmes/Cornell til it got me to Cult (so many As and A*, both ended up in top 10 of P100)

 

now I have no TV, but PPV so I'll draw up more cohesive shows eventually

 

for RPW TV show my format has generally been

 

Good Tag Match

 

Somebody dominates

 

Good singles match

 

Great Angle

 

Cornell vs Holmes (or insert Remo or Chris Rockwell)

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I find stories I wish to tell over 3-6 months. Then I set up that match at whatever the Big Event is, and work backwards.

 

As a simple example:

 

WWE works out nicely since WM falls in month 3 or 4 (depending on the mod I guess). So I find the matches I want for WM, and work back to the previous PPV, and then the Rumble. I care more about the story than I do the ratings and such. Eventually, they even out (or should).

 

So while this is long term, it works on the show to show basis. But for me, if I don't know where I'm ending up at, I can't work forwards.

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My main booking philosophy. THOU SHALT NOT LOSE. If someone's important, they don't lose. Especially not on television. Modern even-stevens booking drives me nuts, and it doesn't really work in TEW. At least not with the products I play. Dominant win-streaks on the other hand....
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Well, my first thing is, I don't allow realism to be a noose. There are many things that occur (or occurred) in reality that just can't happen in TEW. Post TEW05, a woman cannot get over simply on her looks. In reality, that's not true. The reverse is true as well (which is probably what makes TEW so compelling). Gameplay trumps realism, 90% of the time.

 

Secondly, I book to strengths but I always book in a way that would appeal to me. As the primary audience most of the time, that's important.

 

I typically plan out a year of storylines and pushes before even starting a game. It's not a set in stone kind of thing, but it helps me to have an idea of what I'm going to do before I sit down to do it. There will be surprises, there will be disappointments, but this gives me a rough outline to focus on. I favor slow burning feuds at the top of the card so a year is just about enough time to accomplish the payoff for one of those.

 

I'm big into development so that's often a major component of my year one plan. As an example, in my diary game, one of my goals from the start was to make Megumi Nakajima and one other worker I share with 5 Star (who hasn't debuted in QAW yet) into international icons, which will hopefully elevate 5SSW at the same time, without direct intervention (via the editor or making them a child promotion). That's not something that's going to happen in year one (but perhaps by year three, definitely by year four) but it's in the plan.

 

No Jesus pushes, unless it's a conversion plan. That means, if all a worker needs to be a solid main eventer is overness, I might aggressively push them to get them there. They'll lose some but they'll rise all the same. I don't use the win streak type of push because it does more harm than good over the long term. My products tend to favor workers who can "put it down" in the ring so win, lose, or draw, a worker who can work, will get over (unless I saddled them with a cool or c0cky gimmick, which I don't tend to do).

 

One major point that I use in all games is booking to strengths. If I have someone on roster who is popular and entertaining, that person will appear on screen A TON. Nowadays, that person is usually my user character and I use him as an interviewer. But after about the third month (or so) of booking, my main eventers (and the more capable/popular non-main eventers) begin to carry the show to the point where I don't need to do very many assisted interviews anymore. Of course, it's often around this time that I (Possible SPOILER!) make the user character the authority figure. Not always, but doing so helps me keep a constant level of quality throughout the non-wrestling segments of the show.

 

Apparently, I do play favorites though. I've had friends who looked over some of my long term games mention, "Man, you really like that <insert name here> chick, don't you?". It's not conscious, just something that happens organically, I guess.

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I've been working on the same 6 months of my 0/0/0/0 promotion for the past 4 games. I always get about 6 months in and say, "I like how that turned out, but I think it would've gone better if I'd... [thing]."

 

This time around, a randomly-generated worker was so good (for a 0/0/0/0 promotion at least) that I felt obligated to put him into the database.

 

So I've got 3-4 storylines that are pretty much set in stone and are being slowly refined as I learn more about my 12-odd guys and about playing TEW.

 

My first 2 [EDIT:months] are always (nearly) the same. First month, I do the first round of an 8-man tournament for the ME title. As the middle match, I defend the midcard title against one of my favorite midcarders (I have 2). The next month, the semi-finals bookend the show, with the finals as the main event, and the 2 favored midcarders getting matches to fill the show.

 

After those 2 [EDIT:months], things start to get a little more confused, but I'm confident in a few more playthroughs I'll have a really good idea of the story I want to tell with the next few shows.

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I love using a large faction (or two) when booking major storylines. Does everyone in the roster get used? Not always, but I try to use everyone meaningfully.

 

I remember in a game I had running with an 02 scenario (starting when Big Show beat Lesnar at Survivor Series). I had Big Show align with Heyman, who then recruited several other stars to build a stable around him. At one point I think they controlled the big belts (IC, World, Tag). Also, as a way to spread the title defenses, I had Heyman come up with some contract clause that stated the World Title would be defended once a month (at the PPV) and that "to be fair and not embarrass anyone too badly" you got one shot at the champ and that was that. So I had a constant stream of ME's going up against him, and stable members debuted by interfering in the defenses early on.

 

Essentially, find a way to get ancillary characters involved in the main story. They don't need to have a major role, just something to get them screen time. In a lot of ways, like Remi said, don't let realism get in the way of something you need to do in the game.

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What's the best way to handle a large roster? Sometimes i want to book a few guys i like,but i can't remember everyone. And then i end up forgeting some of them, wich makes me waste some real talent.

 

A brand split will save you headaches if you're good at using the Filter screen. If you've seen any of my screenshots in the random, strange, etc. threads you know that I'm a big fan of brands considering I have three major ones. If you split your roster up you can look at them separately and that way you won't feel so overwhelmed. It'll be like booking two Cult promotions pretty much.

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A brand split will save you headaches if you're good at using the Filter screen. If you've seen any of my screenshots in the random, strange, etc. threads you know that I'm a big fan of brands considering I have three major ones. If you split your roster up you can look at them separately and that way you won't feel so overwhelmed. It'll be like booking two Cult promotions pretty much.

 

Wich is generally what i do,when i made the company grow. But when i start on a already estabilished company,like The E,it's hard to divide those guys. The most over guys are generally the ones i want to get rid of (Cena,Batista, etc) but i have to use them in the first months,for obvious reasons. And the ones i wanna push are in the low midcards. It's a hard to divide roster,having in mind the huge gaps between the workers' styles,overness and abilities.

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Wich is generally what i do,when i made the company grow. But when i start on a already estabilished company,like The E,it's hard to divide those guys. The most over guys are generally the ones i want to get rid of (Cena,Batista, etc) but i have to use them in the first months,for obvious reasons. And the ones i wanna push are in the low midcards. It's a hard to divide roster,having in mind the huge gaps between the workers' styles,overness and abilities.

 

Every three months or so in my game I look over my brand splits and figure out what trades need to happen to keep everything fresh. I've never agreed with WWE's "draft" and how they do their brands because I think they should switch things up more than they do. I haven't played any current day mods (only historical) so I'm not sure what the popularity gaps are between the workers. You can make brands work well if you have a good mix of popular and skilled workers though.

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A typical show will be booked following this formula.

 

A solid opening angle

A solid opener

Angle

Filler match

Angle

Filler Match

Charismatic superstar interview

Semi Main event

Charismatic superstar interview

Main event

Post main event

 

My booking style plays to the workers strengths and to those with potential I tend to blend them in with superstars to make them look good. Fort example I', trying to give Chuck Taylor the Jesus push in my WWE game so every time he has an angle, he's usually around the Undertaker or Batista. Someone who will give him the rub. I try to raid the free agent market for as many prospects as possible, I must have a good development and I MUST have a good womens division. (My goal for the ladies is to eventually have the top divas be as popular as the top male stars)

 

Storyline wise I plan several months in advanced. Sometimes up to a year. I already know my next Wrestle Mania card and I'm not even at Judgment Day. The point for this is to have the right amount of hype going at all times. So come WM season I'm not scrambling to put a good card together because I've prepared storylines for months going. I wont hesitate to flash money or not listen to the boss when I know hiring someone or doing something he doesn't approve of is for the best.

 

RAW is purely veterans and stars. One or two young guns while Smackdown is fresh and centered around wrestling. Ultimately booking Smackdown is much easier and more enjoyable because most wrestlers have not fought yet and most young stars will go their and my main focus is to put matches together that will get me high scores. Much more enjoyable than relying on cramming Cena, Trips and Batista in numerous segments to force high ratings.

 

Oh... and I always rehire Sunny, give her a talk show segment and I make myself date her. I never set out to do this, but it never fails.

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Shouldn't this go in the TEW forum... since you know this is the off topic portion?

 

Not really, here's why:

 

After having this brilliant idea...i will now put it to work! THis thread will be for any of the TEW versions.

 

That means that short of cross-posting in the 2010, 2008, 2007, and 2005 forums, this is pretty much the only forum that can house it.

 

What's the best way to handle a large roster? Sometimes i want to book a few guys i like,but i can't remember everyone. And then i end up forgeting some of them, wich makes me waste some real talent.

 

A brand split will save you headaches if you're good at using the Filter screen. If you've seen any of my screenshots in the random, strange, etc. threads you know that I'm a big fan of brands considering I have three major ones. If you split your roster up you can look at them separately and that way you won't feel so overwhelmed. It'll be like booking two Cult promotions pretty much.

 

To me, a brand split is easiest if you have a lot of chaff you don't care about. But if you don't care about certain workers, why are they drawing paychecks? I tend to have two sets of workers on my rosters: workers who can 'go' in the ring and those I want to develop to that point. To that end, I try to make sure that the developmental workers get quality in-ring time with the folks who can teach them a thing or two. Structuring my shows around that principle helps to ensure that people get solid amounts of time with which to develop. I use my preshow in every show I run (the post show less often) and rotate people around as much as possible. My "jobbers" (i.e. the really low on skill, high on potential types) get lots of work which hopefully makes things move a bit quicker.

 

Another method is to make sure you're using angles well. There are many angles that have onscreen roles that don't affect the segment rating (Face Off but no contact being the most obvious one). Use those to get people face time. If the angle is long enough, those anonymous workers will also possibly get skill, momentum, and overness increases as well. In one of my diary shows, I had a 6 minute long brawl between Megumi Nakajima (a lower midcarder) and Ikuko Temko (opener) and the people who ran in to pick up the pieces or break up the fight, were basically some managers and Kuniko Matsura and Sakura Sada. Almost everyone got increases in 'performance skills' or learned 'to show more charisma'. At the same time, I got to use two workers who weren't booked on the show to burn some unused time and advanced a storyline.

 

On any given TV show, I could "empty the bench" so to speak, and get everyone involved. On PPVs, I do just that. That's with 77 workers on a Cult level roster.

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Another method is to make sure you're using angles well. There are many angles that have onscreen roles that don't affect the segment rating (Face Off but no contact being the most obvious one).

 

I abuse that angle. All my jobbers seem to love breaking up fights between main eventers.

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I'm all for abusing angles, but the whole Face Off but no contact one has always seemed... wrong to me somehow. No idea why I draw my line in the sand on that one. I'll abuse literally everything else. Maybe because it seems too easy. Maybe it's because I like my guys getting over on their own merits. Maybe it's because I abhor the cavalier attitude towards violence in wrestling. I don't know. It's just an angle I never use.

 

Undoubtedly effective though.

 

Another one of my booking rules is VARIETY. In a typical event I'll have just one tag match, one women's match, one squash match, one main event caliber match.... and so on, depending on the promotion. Not only is it the type of wrestling I like, but it helps me book. Instead of 120 minutes of infinite possiblities, I have pre-determined segments to fill. "Who's in the tag match this week" I will often say, startling my co-workers. "Who needs to squash someone?". It's like a jigsaw puzzle with the edge pieces already done for me.

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I have pre-determined segments to fill. "Who's in the tag match this week" I will often say, startling my co-workers. "Who needs to squash someone?". It's like a jigsaw puzzle with the edge pieces already done for me.

 

I book this way too. I Ask myself who gets the "Work the crowd" match before the main event. My format is usually the same. Seems to work out ok for me.

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Not really, here's why:

 

 

 

That means that short of cross-posting in the 2010, 2008, 2007, and 2005 forums, this is pretty much the only forum that can house it.

 

 

 

 

 

To me, a brand split is easiest if you have a lot of chaff you don't care about. But if you don't care about certain workers, why are they drawing paychecks? I tend to have two sets of workers on my rosters: workers who can 'go' in the ring and those I want to develop to that point. To that end, I try to make sure that the developmental workers get quality in-ring time with the folks who can teach them a thing or two. Structuring my shows around that principle helps to ensure that people get solid amounts of time with which to develop. I use my preshow in every show I run (the post show less often) and rotate people around as much as possible. My "jobbers" (i.e. the really low on skill, high on potential types) get lots of work which hopefully makes things move a bit quicker.

 

Another method is to make sure you're using angles well. There are many angles that have onscreen roles that don't affect the segment rating (Face Off but no contact being the most obvious one). Use those to get people face time. If the angle is long enough, those anonymous workers will also possibly get skill, momentum, and overness increases as well. In one of my diary shows, I had a 6 minute long brawl between Megumi Nakajima (a lower midcarder) and Ikuko Temko (opener) and the people who ran in to pick up the pieces or break up the fight, were basically some managers and Kuniko Matsura and Sakura Sada. Almost everyone got increases in 'performance skills' or learned 'to show more charisma'. At the same time, I got to use two workers who weren't booked on the show to burn some unused time and advanced a storyline.

 

On any given TV show, I could "empty the bench" so to speak, and get everyone involved. On PPVs, I do just that. That's with 77 workers on a Cult level roster.

 

 

1st: This. And plus,it's best to envolve all the games in a booking thread as the booking process is similar in all the games and everyone can participate. The cross-posting would mainly kill the idea. More then game tools and features the thread is mostly about the pure booking strategy itself. In a more simple answer: what Remi said. :D

 

Getting back to the topic: I guess you have a point there, Remi, but the hardest part with the long rosters is actually planning ahead. I mean,i usually just book for the show i'm about to head and plan as far as the next PPV. (Exceptions may happen,as for example, the WM card, or the Rumble. I already know who will headline it and win it way ahead of time,but other then that...i pretty much go with the flow. I see the long term plans as something hard to achieve with so many workers. Are there any tricks or hints to make it easier?

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I see the long term plans as something hard to achieve with so many workers. Is there any tricks or hints to make it easier?

 

Booking backwards tends to work better for me. That way you know what the big blowoff of the storyline will be. This makes it easier for me to build up to the blowoff.

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I'm all for abusing angles, but the whole Face Off but no contact one has always seemed... wrong to me somehow. No idea why I draw my line in the sand on that one. I'll abuse literally everything else. Maybe because it seems too easy. Maybe it's because I like my guys getting over on their own merits. Maybe it's because I abhor the cavalier attitude towards violence in wrestling. I don't know. It's just an angle I never use.

 

Undoubtedly effective though.

 

Another one of my booking rules is VARIETY. In a typical event I'll have just one tag match, one women's match, one squash match, one main event caliber match.... and so on, depending on the promotion. Not only is it the type of wrestling I like, but it helps me book. Instead of 120 minutes of infinite possiblities, I have pre-determined segments to fill. "Who's in the tag match this week" I will often say, startling my co-workers. "Who needs to squash someone?". It's like a jigsaw puzzle with the edge pieces already done for me.

 

I don't like spontaneity. I follow a formula to the tee until it doesn't work anymore. For the most part I don't even do squash matches unless someone desperately needs a win under their belt to look good; and even then I'll slip it underneath a solid card. I'm all for competitive matches that will score high ratings. I suppose I'm a bottom line guy. I'm open to tag teams between the shows 4 biggest stars, title matches in TV shows. Nekkid women. I only become more daring with the undercard. On Smackdown though, I'm all daring. Giving the likes or Bryan Danielson and Chuck Taylor massive pushes requires you care less about ratings.

 

I'm only down for variety when it comes to feuds. I hate what the E has now with seemingly the same 5 people headlining each ppv. If I have a long term champ, I'll rotate main eventers to face him and even elevate upper midcarders by feuding with the champ.

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Exactly. Divide the year into quarters, see where you want it to end, and build to that. If that's too daunting a task, start with your first PPV in mind, write it out (match order), and work backwards to your first show. When you start getting used to that, you can do 2 months out and 3 months out.
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Exactly. Divide the year into quarters, see where you want it to end, and build to that. If that's too daunting a task, start with your first PPV in mind, write it out (match order), and work backwards to your first show. When you start getting used to that, you can do 2 months out and 3 months out.

 

When booking a Sports Entertainement promotion i usually do the monthly thing in a smaller way. I plan the title matches and a couple more that i have in mind and then create a bunch of feuds between mostly over workers (that will serve purposes as pushing someone,ratings,etc etc) and then pick the hotest ones to fill the PPV. I know it looks like lazy booking but it works. And it seems like the best way i can find to shorthen the time i spend booking the shows. To me, the most important thing is to advance in time,if i take too long to book shows i get tired. So i'm mainly trying to get a fast way to do quality booking. Maybe the several months or yearly plans is the way to go.

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I should have stressed that I've only played with SE promotions. For example, in the Big Show storyline I had before, I knew that at the end of 1 year (next Survivor Series), Big Show would lose the belt - finally - Heyman and his crew would turn on him. That's where I started. Then I sat down and said "What do I need to do in order for Big Show to keep the title for a year and not just fight a couple of guys?" That's how I came up with the stable idea (and how the first few members would debut) and Heyman's clause to give everyone a "fair chance" at the champ.

 

At that time, I wasn't too good at working back 3 months at a time, so I figured:

 

Armageddon: Opponent A

Royal Rumble: Opponent B (and stable member debuts by interfering on behalf of Big Show)

etc...

 

I like to start with broad strokes, then fill in the gaps. Other people go from beginning to end, but with me, I see that using that either leaves me with storyline gaps or I ignore too much of my roster.

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