Long-time WMMA player, never played a TEW, but bought this a couple of days ago.

[maudlin career]

The last time I ever played a wrestling simulator was EWR, and when reading about all the improvements in TEW compared to the EWR series, this sounded right up my alley. But man, I didn't know it would be so damn complex.

 

Any tips for a new player? I'm using real world data and actually haven't really decided what to do. I played a month with TNA and then WWE just to get an overall feel for the game. Tried running my own fed to get used to some of the custom mechanics and I'm soooo confused.

 

One of the main problems I seem to be running into is booking issues. I can't seem to find out how to balance matches with angles, and on top of that, how to do it and successfully run up a two hour time-frame. I end up making matches dragging on longer than I should and it hurts the overall show.

 

How do you guys go about booking events/TV shows?

 

And storylines, what's the best method to go about creating one? I've found myself setting up custom storylines with unchained plot points and just developing those plots as shows go on. Is there any benefit in setting up a branching storyline with several plot points as opposed to doing unchained stories? Which do you guys find yourself doing more often?

 

Basically, any other tips for a first time player would be much appreciated.

 

I

[jhd1]

I don't know what you mean by 'balance matches with angles' but if you look in your product there will be a match ratio. If, for example, this is given as 70% then a two hour show will require 84 minutes worth of matches (included the added minutes for each match). This ratio is given a 10% leeway so in this example you could give anything between 60% and 80% of the show as matches without a penalty.

 

If you want to know how people book each and every show the best thing to do is visit the TEW2010 dynasty forum and check some of those out.

 

The advantage of chained storylines (those with plots) is that they can be advanced by a single worker in the storyline (i.e. Protag vs. any jobber) whereas unchained storylines require at least two of the workers to be in the same segment. Personally, I get along fine with unchained storylines.

 

I would also advise you to check out the Cornellverse - it really is worth giving a try.

 

Hope that helps!

[Eidenhoek]

I'll post from the perspective of, skillwise and knowledgewise, the tier above you. I've played '05 and '10 for awhile, so here goes:

 

1. I'd suggest using the default Cornellverse. First, it's fun, and second, it should be fairly balanced with regards to various feds. In the KYR2010 mod, for example, there's WWE, then...a hell of a lot of smaller guys. Not to say that the mod didn't have a lot of work put into it (by god, I'm amazed with what's there); I would just prod you towards using the default database.

 

2. I use unchained storylines all the time. I don't want to be restricted and/or I don't plan ahead very well. I think that latter part, planning, comes with experience. So I'd suggest using unchained storylines and mimicking whatever you want to do plotwise. Also, as far as I know, the game just needs to know the heat of the storyline and whether or not it gets dropped prematurely (impossible if unchained). So there's no in-game advantage to either use.

 

3. I try to put my main eventers against each other on the monthly Pay-Per-View or whatever and try to build toward that for at least a month. I might have them be on opposite sides during a tag match initially, have an argument after or the next week, maybe a run-in during a match...various segments, big match, done. Granted, that's not the best way to get huge heat off of things, but it's a concept.

 

4. I don't know the mechanical benefit of advanced booking (as in, what heat the match get vs. what increase in attendance/rating), but I know that, at the very least, it keeps me organized. Some guy pissed that he's not on a show? AB him, guaranteeing him a match next week. Want to see how a feud's relating to matches? There you go. Want to see how big a draw a guy really is? Put him in a match vs. To Be Announced. That guy gets some work >______>

 

5. Use the Creative Meeting panel. Link. Button? Use it use it use it. It tells you important information (like who's the guy who can drag the undercard to a watchable match). Talk to your workers at least once a month to know how much they hate you >_>

 

6. This is me being me, but I try to autopush fairly frequently. Again, lack of planning, but this allows the guys who rise up the card to...rise up the card. And those that fall get to fall. Also, if I'm autopushing a guy and he's then unhappy with his push, I know he's a jerk. >_>

[Rebby]

I've pretty much always struggled when it comes to angles, whether it's a performance or popularity based fed. I'd love to hear tips on how to incorporate them successfully into the show. I always get the generic "the angles didn't live up to the matches"

[Phreak]

I've pretty much always struggled when it comes to angles, whether it's a performance or popularity based fed. I'd love to hear tips on how to incorporate them successfully into the show. I always get the generic "the angles didn't live up to the matches"

 

This isnt always a bad thing. You'll find it comes up quite a bit when your matches outshine your angles. Which, in a performance based fed, they SHOULD. Basically if you want an angle to get over the best it possibly can, then play to the strengths of the workers involved in the angles. Easy peasy. Other then that there is not much else you can do.

[Blake Trask]

Yeah, Phreak's pretty much nailed it. If the angle is overness rated, try to use those angles for guys that are very over, same entertainment skills, anything really, look at what the angle is rated on, use workers with strengths in those areas. You could also do what I do which is clone or write angles so I can specifically set up what I have in mind for the roles. E.g. if I want somebody to make a run in and they're not that over, but have bags of menace, I'll put the attacker to be rated on Menace instead.

 

I don't know for certain, but I've got the idea that only angles over a certain length of time factor into the final show rating anyway, although consistently low angles may knock a few points off your grade.

[Bigpapa42]

An angle of any length factors into the show grade unless its a Minor angle. Any Major angle counts. I believe its 5 minutes minimum to affect wrestler momentum and 6 minutes to affect their skills.

 

A factor to keep in mind is that overness always matters in angles. Even if its a single worker rated on Entertainment, their overness comes into play. Which is why angles built around midcarders can disappoint, even if they have strong entertainment skills. I tend to build angles around the most over talent, using the guys lower down the card to supplement it. Unless its on a B show...

[maudlin career]

I'll post from the perspective of, skillwise and knowledgewise, the tier above you. I've played '05 and '10 for awhile, so here goes:

 

1. I'd suggest using the default Cornellverse. First, it's fun, and second, it should be fairly balanced with regards to various feds. In the KYR2010 mod, for example, there's WWE, then...a hell of a lot of smaller guys. Not to say that the mod didn't have a lot of work put into it (by god, I'm amazed with what's there); I would just prod you towards using the default database.

 

2. I use unchained storylines all the time. I don't want to be restricted and/or I don't plan ahead very well. I think that latter part, planning, comes with experience. So I'd suggest using unchained storylines and mimicking whatever you want to do plotwise. Also, as far as I know, the game just needs to know the heat of the storyline and whether or not it gets dropped prematurely (impossible if unchained). So there's no in-game advantage to either use.

 

3. I try to put my main eventers against each other on the monthly Pay-Per-View or whatever and try to build toward that for at least a month. I might have them be on opposite sides during a tag match initially, have an argument after or the next week, maybe a run-in during a match...various segments, big match, done. Granted, that's not the best way to get huge heat off of things, but it's a concept.

 

4. I don't know the mechanical benefit of advanced booking (as in, what heat the match get vs. what increase in attendance/rating), but I know that, at the very least, it keeps me organized. Some guy pissed that he's not on a show? AB him, guaranteeing him a match next week. Want to see how a feud's relating to matches? There you go. Want to see how big a draw a guy really is? Put him in a match vs. To Be Announced. That guy gets some work >______>

 

5. Use the Creative Meeting panel. Link. Button? Use it use it use it. It tells you important information (like who's the guy who can drag the undercard to a watchable match). Talk to your workers at least once a month to know how much they hate you >_>

 

6. This is me being me, but I try to autopush fairly frequently. Again, lack of planning, but this allows the guys who rise up the card to...rise up the card. And those that fall get to fall. Also, if I'm autopushing a guy and he's then unhappy with his push, I know he's a jerk. >_>

 

Lots of great advice, man. I'm thinking I'm going to run a full game with CornellVerse since it has better balancing. Once I feel real familiar with the game, I'm going to try the real world mod.

 

I'm also going to look into Blake Trask's angle idea.

 

And what I meant by angle/match balancing, I already knew the about the screen that gave you information about match ratios. My issue seems to be that I don't have a grasp in the time concept. I don't want segments to be too drawn out and I want matches to go at a semi-realistic pace. However, I always seem to fail in the grand scheme of things. I was just wondering what rules of thumb you follow when designating specific lengths of time to matches and angles.

[Blake Trask]

Your product screen will have expected match lengths, as in, how long the fans will expect to see various 'levels' of match go on for. Generally, the higher the push of the workers in the match, the longer the match will be expected to be.

 

Some people set all their expected lengths to something low (around 5 minutes) in order to be able to be a bit more flexible with their booking. When I book, I tend to put in everything I'd planned out (advanced booked) and then see how much room I've got left around it for other, shorter matches or angle. Generally only my main eventers will be in particularly long (5 min +) angles, the lower the card, the less out of match 'screen time' I'll give them.

 

Try not to have guys at the bottom of the card appear too much in angles, you'll get a ding for using them too much.

[jhd1]

I was just wondering what rules of thumb you follow when designating specific lengths of time to matches and angles.

 

The AI match guidelines (which can also be found on your booking screen) are pretty good markers for match length. As USPW I used to have 7-8 minutes for a typical match. 5-6 minutes for anyone with terrible stamina (I'm looking at you Giant Redwood!), 10 minutes for the semi-main and 12 for the main event. These are obviously bumped up for PPV and special TV matches (such as title defences). Without knowing which promotion you are booking it is hard to give a definitive answer.

 

A good idea for working out angles is to watch a real show and write it down as if you were booking it in TEW. For example;

 

- Segment 1: Hulk Hogan & Eric Bischoff talk about Immortal

- Segment 2: Jeff Hardy gets a new title belt

- Segment 3: MATCH #1

- Segment 4: Christy interviews Matt Morgan

- ....

 

You'll find that real TV shows have a lot more angles than you would think and these typically aren't very long. Opening segments on the other hand, especially in the WWE tend to run for 10-15 minutes, although these could arguably be made up of one or two consecutive angles.

 

EDIT: Or what Blake said. He can type faster than me