Remianen Posted April 14, 2016 Share Posted April 14, 2016 I figured I'd make a new thread to prevent going too far offtopic in the TEW16 thread. This comes from this: I've developed a system that lets me book shows, and especially PPVs, in advance with no fuss. About the only thing that isn't prebooked are my post-show angles and maybe a few angles per TV show (to account for possible additions needing to be debuted). Once I hit Cult and most of my workers are exclusive (except the ones I share with 5 Star), I can book an entire year's worth of PPV matches all in one fell swoop. With the exception of one worker (Saori Nakadan who is 5 Star's booker), all of my shared workers prioritize me over 5SSW so it's easy to know who's available (barring injury). It's even easier in real world games since I don't share talent with anyone. At least not talent I'd actually use regularly. Rem, you need to share the system. Ditto. I tend to play Regional level companies, so I do maybe 2 shows a month, and I get through maybe 2 years before I decide the company is doing too well and I need to start over with a different product. My system is simple and something everyone already does, though maybe not to the same degree. Every savegame I start has a goal. That might be getting a worker (or a group of workers) over, it might be to get to a certain size, or it might be to topple a giant, but it always has a goal. Now, if your goal is to get someone (or several someones) over, you just plan it out. Take the 'Man Under Pressure' storyline on the C-Verse site. That storyline ran from March to December and resulted in Jack Bruce being catapulted to megastardom. If you knew the desired result (and you should, being the brains behind it), it's easy to book the steps you want at the pace you want. In TEW, the only thing that would be even slightly difficult or annoying would be booking the angles on TV (since you can't book TV shows more than a week out). But the matches, you can plot for the whole thing, right at game start. You'll find that sometimes, your major plan gives you ideas for other storylines that will get your major plan to the point you want it to be. Think of it like a spider web emanating from the center. An example from my current game: I wanted to elevate Zoe Ammis to be my world champion but it had to look organic. I knew I wanted her to beat Jillian Jarvis for the title and I knew that would be in the first PPV of the following year. Now, she'd have to go through some things (and some people) to rise to that level. She started as an autopushed midcarder in a high Regional sized promotion. So she started in a program with Concepcion Gomez. Just basic 'bitter vet jealous of highly touted young talent' stuff. Four TV shows and a PPV later, both Gomez and Ammis autopush to upper midcarder. During that month, we hit Cult and I lock up everybody except the workers shared with 5 Star, CILL, and OLLIE. Then Zoe enters a program with Lioness Mushashibo which gets blown off early when I land Lauren Easter (who starts as a heel). Zoe gets beat down by Lioness & Lauren on the go-home show before the PPV where they'd be in a fatal 4-way (with Wendy Anderson, a secondary person I'm working on raising up) for the X-Division-esque title. Lauren goes over (pinning Wendy) and Zoe gains popularity from the quality of the match. By August, she's autopushing to main eventer after a program where she teams with Wendy against Dark Forces (Madame Bat and Raquel Alvarado). Notice, she's working with people who have good to great performance skills and she's learning SO much. When she gets to the main event, she's got 86 basics, 78 psychology, 95 consistency, 75 selling, and 85 safety. She also has entertainment skills in the 80s due to being managed by Dharma Gregg who herself was in a different storyline with Emma Chase (who manages Lauren Easter). The angles boosted everyone involved. But I've found that by plotting out the main storyline, I got ideas for a multitude of other storylines that support the main one (or just cross paths with it at some point). Those matches can all be booked well in advance (sometimes at the start of the save). Granted, this works primarily for Cult and above since it assumes your workers are either exclusive to you or prioritize you over their other contracts. But it might be a good jumping off point for others. TEW13 can be a bit overwhelming if you're booking each show entirely from scratch. So if you can get the core of the show prebooked in advance, the rest is just filler (the assistant booker can fill that stuff in). TV shows should be used to feed events/PPVs so deciding what steps you want to take in each of your major storylines can be made easier if you know what those steps are. As soon as I've run a TV show, I can prebook the next one for that very reason (I know what I want to do to move things forward). I have a 50% ratio for TV because I know sometimes a show will need to be angle heavy and sometimes it'll need to be match heavy ('heavy' being 60% of the show). Easy way to get into it is to start with one storyline, the main one. This is the storyline your company will focus on to drive business. Usually it involves your top title but sometimes it doesn't (like if you're trying to keep the title off of your most over worker since it'll be hard to get it off him/her). From there, you'll find that storylines present themselves to you over time whether due to worker chemistry or just landing a worker you never thought you would (like me with Lauren Easter and Brooke Tyler). Go with it and see where it takes you. Link to comment Share on other sites More sharing options...
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