vbase Posted November 8, 2016 Share Posted November 8, 2016 For the major part of my TEW experience, I have played with companies that are more performance based than popularity based, however, now I want to do a WWE save but I have been struggling. I have put top wrestlers in storylines and matches but I haven't had good results. In the performance based companies, I put the wrestlers with good performance skills and that would result in top-class matches. Now I can't achieve the same. I do understand that I have to put the most over wrestlers in good storylines but I still can't get any good results. One of the main things that gets in the way always in the 'Dirt Sheet' is the low heat of the storyline having a negative impact on the match. I have great rated angles 90-100 in storylines and some good matches yet the heat < 10. So I really have two questions, how do I book popularity based companies and get good results even if I use workers that aren't over whom I want to get over and how do I get some heat on the storylines? Link to comment Share on other sites More sharing options...
MJStark Posted November 8, 2016 Share Posted November 8, 2016 <p>On booking for TV promotions I usually employ the WWE strategy of several 5 min angles around matches. So it would go:</p><p> </p><p> Intro angle</p><p> Match </p><p> Angle</p><p> Angle</p><p> Match </p><p> Angle</p><p> Angle</p><p> Match </p><p> Etc</p><p> </p><p> If you imagine ad breaks in there between the double angles it seems about right to me.</p><p> </p><p> Pair less over workers with more over/over & entertaining/over & menacing workers in angles, at least one angle a show with your most popular & entertaining folks will always help a show (I like to do three over the night as that is the entertainment part of your final grade sewn up) and don't dominate your projects. I usually work the match/angle ratio 50/50 so an average of 80 on the top three angles should mean 60 on matches will mean 70 overall.</p><p> </p><p> I'm sure various people can add to that start...</p> Link to comment Share on other sites More sharing options...
vbase Posted November 8, 2016 Author Share Posted November 8, 2016 How about storyline heat? I get very low storyline heat even with great angles and some good matches. Link to comment Share on other sites More sharing options...
kingjames Posted November 8, 2016 Share Posted November 8, 2016 <blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="vbase" data-cite="vbase" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="42909" data-ipsquote-contentclass="forums_Topic"><div>How about storyline heat? I get very low storyline heat even with great angles and some good matches.</div></blockquote><p> </p><p> I'm not some all-knowing guru, but what you're describing seems very strange, as in, I don't think that's supposed to be happening how you're describing it. I've never had problems getting storyline heat in the 40s-60s off angles of approximately the same rating.</p><p> </p><p> You may want to contact the mod maker or read up on the Tech Support thread requirements and potentially contact Adam if this issue meets the criteria he's set, because what you're describing shouldn't be happening based on my understanding of the game. Someone please correct me if I'm wrong, but this sounds like some sort of bug or malfunction with how storyline heat is supposed to be generated more than an issue with the booking, right?</p> Link to comment Share on other sites More sharing options...
d12345 Posted November 9, 2016 Share Posted November 9, 2016 <p>Warm up those storylines. Make sure they always start with the hottest possible angle.</p><p> </p><p> If your storyline's first 4 angles get a 55, 100, 100, 100 respectively your heat would probably be in the 70s or 80s.</p><p> </p><p> However if your storyline's first 4 angles are a 90, 90, 90, 55 respectively your heat would still be in the 80s after bombing that 4th angle.</p><p> </p><p> Basically it's harder to raise a storyline's heat that started off on the wrong foot than it is to maintain a storyline that started off hot.</p><p> </p><p> --</p><p> </p><p> As far as matches top row stats aren't as important in Pop over Perf companies. Without knowing your exact product I'd say the more Mainstream, Comedy, and Cult you have in your product then the more important Charisma stats are (even for matches).</p><p> </p><p> A worker with high Charisma, Psychology, Basics, and SQ who is also over is the key. That is your main eventer combination for pop > perf</p> Link to comment Share on other sites More sharing options...
Bigpapa42 Posted November 9, 2016 Share Posted November 9, 2016 <p>The really low storyline heat is odd and worrying. Are these storylines you have started or are they part of the starting data? They key to strong storyline heat is really just strong angles, so if you are getting strong angles.... </p><p> </p><p> They key to a popularity company is really just using your most popular workers. All your top guys should be on every show in some way. If you can pull great angle grades, a few of those combined with a pretty solid main event makes for a strong show grade. Basically, I love throwing some upper midcard and main event workers in a tag match - 2v2 or 3v3 - sandwiched between a couple of hot angles and boom, the show is pretty much certain to give me a grade strong enough to maintain. A popularity based company with a strong roster in terms of talent who are REALLY over is basically easy mode - put four talented workers with A overness in a tag match and with zero tag experience they can still get an A grade quite often. That's an easy B+ or A show. Those really over workers come back to haunt you at contract renewal time, but that's different lol</p> Link to comment Share on other sites More sharing options...
RingRider Posted November 9, 2016 Share Posted November 9, 2016 In my experience storyline heat is much more difficult to manage in '16 than it was in '13. I have found storylines that begin with matches over angles start out much higher. One way I manage this is by having one of my announcers set as minor participant in most of my storylines. If the worker can get a decent match grade, I use the announcer to get the match over first, then follow with the angle and other participant. So maybe it'll be a number one contender's match that starts the story with the champ attacking post-match. Hopefully that makes sense. Link to comment Share on other sites More sharing options...
Remianen Posted November 10, 2016 Share Posted November 10, 2016 <blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="Bigpapa42" data-cite="Bigpapa42" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="42909" data-ipsquote-contentclass="forums_Topic"><div>They key to a popularity company is really just using your most popular workers. <strong>All your top guys should be on every show in some way.</strong> If you can pull great angle grades, a few of those combined with a pretty solid main event makes for a strong show grade. Basically, I love throwing some upper midcard and main event workers in a tag match - 2v2 or 3v3 - sandwiched between a couple of hot angles and boom, the show is pretty much certain to give me a grade strong enough to maintain. A popularity based company with a strong roster in terms of talent who are REALLY over is basically easy mode - put four talented workers with A overness in a tag match and with zero tag experience they can still get an A grade quite often. That's an easy B+ or A show. Those really over workers come back to haunt you at contract renewal time, but that's different lol</div></blockquote><p> </p><p> Emphasis mine.</p><p> </p><p> This is wisdom right here. In a promotion like WWE where worker costs aren't a concern, there's really no reason (outside of possible gimmick wear) not to use all of your most over workers on every show. Just look at how WWE has tended to use Bray Wyatt. Even if he's not wrestling, he's in some kind of creepy angle to advance the storyline he's in. Because he's good on the stick and very over, it works. The same can be done with everyone else near the top of the card. If you toss out Stephanie interjecting herself into every potentially hot storyline (while emasculating the people who actually sell the tickets), WWE's current formula is a pretty good blueprint to follow. TEW doesn't seem to feature the third hour dead zone that exists in reality (one reason the cruiserweights do so abysmally - they're often booked at the start of the third hour) so that's one less thing you have to worry about.</p> Link to comment Share on other sites More sharing options...
Bigpapa42 Posted November 10, 2016 Share Posted November 10, 2016 <p>I don't get called wise all that often :-)</p><p> </p><p> Two more things I meant to mention...</p><p> </p><p> One, if you have a strong main event and some excellent angles, the matches you plug into the middle of the card matter a bit less. So getting a D for a cruiserweight match between two guys the fans don't care much about yet... no harm. If you have Crowd Management on, those "down" matches can help even. </p><p> </p><p> Second, while squash matches aren't out of place in almost any type, they seem to do quite well in the popularity companies if the one doing the squashing is fairly popular. I've gotten surpring grades (C+ to B) for short matches of an upper midcard James Ellworth-ing a jobber. Its all about the popularity.</p> Link to comment Share on other sites More sharing options...
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