I have questions for those that Play as WWE and companies similar to it.

[chm39]

1. Besides Royal rumble into Mania, how would you decide who gets title matches at each PPV while saving your BIG title Matches?
    
   
2. After finishing a season finale how do you decide who will face who at your next PPV?
    
   
3. How do you decide who feuds with who?
    
   
4. How do you plan stories into your next Season Finale?
    
   
5. How do you decide who will get that Big push if any push?
    
   
6. How many rookies and over 40 years talent do you keep around?
    
   
7. Who gets fired who gets hired?
   

[DirigoJoe]

I pretty much only play USPW and they're of a large size, I think there's some similarities.

 

When I decide who I want to fight at a PPV, I look at my product, who is successful in this style, who I would like to push and give more shine to and who I think should move down the card and give their spot to the lower guys.

 

If a guy is tabbed as a star and you think they have the right "star quality", charisma, work rate, mic skills... whatever you need for the style product you're running... then you can work on a plan for them to gain "huge star" status. Same for every tier.

 

In USPW Joss Thompson has everything needed to succeed in that company and he's "only" 38. He's decent on the mic, he's got great star quality, and he's arguably their best ring general. He's a no brainer for a push, you just have to figure out how to get him there. A cheap easy way is to have him be a "Legend Killer" and beat down the former stars taking up room on the midcard, culminating with beating Enygma or James Justice on PPV. Or you could have him win a 4 way match for the #1 contender spot by putting two higher up guys and one guy he can pin clean to steal a win. Then you have him do a program with a champ and even if he loses, Nicky Champion or whoever could help raise his brand in a PPV main event.

 

Find ways to get higher card guys involved with lower card guys and make stories organically. Maybe they're fighting over a belt, or the contendership for a belt, or a MITB style prop, or a girl, or they have a grudge for some other reason...

[Owen Rey]

1. It's kind of easy! I look at my champ (let's say it's John Cena) and look at the rest of my roster and think what the biggest possible matches would be. For example's sake, let's say it's Randy Orton and Daniel Bryan. So I will not do a filler feud with either of those guys and Cena. They will be saved for big matches/feuds with Cena and will be occupied elsewhere until them. Pick either some guys who have prior credibility (Kane, Big Show, etc.) or guys who are on the come up (Big E, Sami Zayn, etc.).

 

2. I don't treat anything like a season finale Wrestlemania is the big show, but you can always build off that. Who won in the prelim matches? They deserve title shots. Does anyone have a gripe with each other? Does anything need some extra blow-off?

 

3. Start with the title feuds and fill those in based off guys who have won a lot, guys who I want to build, guys who have history together. Then fill in all of the rest of the card with leftover guys who I really want to give something to build on.

 

4. Think of what I want my big matches to be and plan backwards from there. Do I want a big match between stars, or do I want to use a match to make a new star?

 

5. Honestly just based on people I like in real life. On the rare occasion, if somebody I don't care for puts on some insane undercard matches or has huge entertainment skills, I might tab them for a big push.

 

6. I'll sign any young guys I like who are wrestling less than 2 matches per month. I'll bring them in to give them development and consistent work which they weren't getting previously. As for old guys, I'll always keep them around forever. Exceptions are if a competing company makes an offer on an old guy I'm not doing anything with.

 

7. I don't fire people unless they cause problems, I don't hire people unless they are not working at all on the indie scene, or if it's somebody I like and have a story I want to execute. Used to just hire everyone I like but now I wait until there's a story I have in mind for them in the immediate future.

 

7.

[Zero]

My only piece of advice is don't be afraid to let talent go. Let the world get competitive

[Slash-LN]

I tend to book backwards.

What do I want my main event in the season finale to be and how do I get there?

For the sake of simplicity I'll do Sunday Week 4 as my finale since that's how I run my company.

 

First I usually pick one person who I intend to build into a star by the end of the year. Let's use Drew McIntyre as an example.

I tend to book my story lines in three month blocks. January to March, April to June, July to September, October to December.

So for Drew I know I need four feuds with him getting at least two wins in each feud. So now I'm going to look at who can I put him over that can help him gain popularity without totally just burying anyone. So I'm not going to put him up against a major star in month one. That will all lead up to at least one match in my finale. If I can't see myself eventually having them go after the world title then they probably aren't going to get the mega push. After the year of the mega push it would be the chase for the title which would cap off at the season finale of the second year. That means generally it's a baby face that gets the mega push. However I sometimes will give a heel a mega push with the idea that I'm setting up a face to chase them for the title. Think Yokozuna as the dominant monster heel who smashes through the faces and finally the chosen one comes along and topples the menace.

 

I tend to put the world title on a worker who is top three in popularity that puts on the best matches. Since my shows are rated heavily on the main event match I want someone that I can count on to get good ratings. Currently I'm in 2005 in TNA and AJ Styles is my champion although I was able to steal John Cena from the WWE and he's my figurehead, AJ is a better wrestler and I can count on him to consistently have good matches.

 

In determining who will challenge for the title I look at my most consistent performers. Samoa Joe is tearing it up right now and having great match performances. He's in a feud with Jeff Hardy which he will win and then transition to feuding with AJ. Because I knew I was going to have Joe challenge for the title I knew I needed to set up a feud for him and give him some momentum.

 

In some cases I will book longer feuds but the wins and losses still follow the three block format. The only difference is that there will be more match types as things escalate and allies may get involved. For example I have a faction of Hazeem Ali, Muhamed Hussain, Shawn Daivari and Jinder Mahal and they tried to recruit Sonjay Dutt. Sonjay declined so they beat him up with Hazeem Ali acting as the mouth piece the whole time. So then Sonjay had to try to work his way through the other three in an attempt to get his revenge on the dastardly manager who also wrestles sometime. Mustafa Ali, Eric Young and Jay Lethal all eventually enter to assist Sonjay along the way which eventually led to a 4 vs 4 steel cell match which Sonjay pinned Hazeem Ali to get the win for his team. Because it was going to take me longer than three ppvs to get their though I extended it to a six month feud and allowed a slow build.

The longest feud I will ever book is a year long feud and those I start in January and end at my season finale. Those are generally either if I don't have anyone who is at the same level of overness to match up with my biggest stars or if it's intended to be a blood feud to where it makes sense for their to be a long story. This can be either two guys that are always going to be tied together in some way like Bret Hart and Shawn Michaels or it could be a heel manager trying to take out a mega babyface like the Heenan Family with Hulk Hogan.

 

In terms of rookies and anyone 40 or older I'm running GFW as a development company for TNA company right now so it's stocked with rookies and younger wrestlers and it has a ton of veterans who are there to put the young guys over while helping them develop their skills, especially psychology. I don't think I have any rookies on the main roster right now because none of them are good enough. I have older veterans to use as jobbers. I will sometimes borrow from development to use wrestlers as jobbers because I found that they can gain overness that way. Plus my women's division on the main roster is so small that I don't want to repeat the same matches over and over so it doesn't hurt to use the women from development in the throw away matches.

 

A number of factors go into who I have feud with who. First I look at how over they are. I want to have comparable overness. Then I look at who can carry the different aspects of the feud. AJ Styles vs Christopher Daniels for example I know both are going to bring it in the ring but Daniels can also carry the load in the entertainment department as well. I know that when I move to Joe vs Styles neither is going to be super great on the mic but the matches are going to be incredible so I'm not super worried about it. However if I have two guys that are great on entertainment skills but garbage in the ring I'm probably not going to book them against each other. I'd rather book a poor in ring worker with a good one to help them get better.

 

As far as who gets hired and fired I first look at who can I see myself putting various titles on and that's how I start to develop my divisions. Then I look at who can I see myself giving a push to even if they won't hold a title at any point. Then I look at who can I use to get those people over in feuds. So not jobbers but also not anyone who is going to triumph at the end of the feud. Kind of like a Bam Bam Bigelow type. He was a great match up for people and won enough to make you think that maybe he would topple the Bret Hart or Razor Ramon types but ultimately would come up short. Finally I look at who is skilled enough to help the other wrestlers get better but I know that I have no intention to push. Some examples from my current game are Jerry Lynn and Elix Skipper. An addition to this is popularity. Tatanka isn't a very good wrestler but he has decent enough popularity still to give a boost to some of the guys on the roster who are beating him.

[Remianen]

<p>NOTE: I play with women, which is a very different playstyle for a variety of reasons (lack of top tier talent being a big one).</p><p> </p><p>

My perspective is based almost solely around the Episodic Lucha Libre product, which is very similar in many ways to TV-focused Sports Entertainment. I also run with main event focus and 'highlights' angle focus, which again, requires a different approach.</p><p> </p><p> </p><p>

1. Big title matches are kept for big PPVs. In my opinion, your titleholders should be able to get a good to great match out of a chair with 3 broken legs. Thus, my "big" title matches only involve workers like that. In between, I can throw challengers who have popularity but not so much skill at the champions to fill time and keep everyone active. And since popularity rules all, I make the numbers necessary to keep moving forward.</p><p> </p><p>

2. Planning. Season finale means nothing. The season ends when I say it does and that goes for all of my running storylines. Some stories slow burn over multiple years, some are short-term and are over very quickly. Getting stuck with the mindset that you HAVE to do things like the company does in reality is a mental prison I choose not to allow myself into. There are storylines that start at the Rumble and could go well past Mania if 'creative' was actually that. </p><p> </p><p>

3. Talent. I typically pit a young promising worker against a capable veteran to keep that drip feed pot constantly topped off. Depending on how the young worker develops during the feud will determine who "wins" the feud.</p><p> </p><p>

4. I don't, really. What I do when creating storylines is try to figure out what I want the ending to be and then work my way back. Again, I don't use any particular point as like a 'final exam' date. But a lot depends on how the workers in said storyline develop and grow over the course of the story.</p><p> </p><p>

5. See #3. Talent. There are some workers who you know you're going to Jesus push. I look for young workers with light green (71-84) to light blue (85-100) fundamentals and then something else, whether it's good performance skills or a primary skill or physical abilities. The first time I saw Kira Lee and Modesty Pador's profiles, I fell in love. Exactly the kind of worker I love to develop.</p><p> </p><p>

6. Before I launched WTW (child company), I kept a lot of rookies on the roster. I needed to develop them and the AI sucks at that (they won't even sign rookies unless they have gaping holes in their women's divisions). So working dark matches (and yes, battle royals) worked best for that. Now, the only rookies I keep around are the ones in line for a push who have found a spot in one of the company's stables. They have to have green fundamentals or they can't stay. Over 40 types I absolutely adore, if they stick around. Those are typically the workers who earn their wins by working with (and beating) the rookies. Heck, at Large, my current World champion is 45 years old. But if she decides to hang 'em up, I have someone waiting in the wings to take the strap from her.</p><p> </p><p>

7. I hire young workers with upside and veteran workers with in-ring ability and positive personalities. I don't hire 'bad' personalities (Egomaniac, sleazy, scumbag) but I don't mind the merely negative ones (Troublemaker, for example) because my locker room is typically stacked with positive so I can take on some baggage. I've figured out that with many young workers, if I don't sign them, no one else will. So they waste away in the free agent pool, gaining skills at a rate that makes the term 'glacial' seem like lightspeed. I don't generally fire people.....unless I can do it for free. For example, Cheyenne is a soft drug user. I've already sent her to rehab twice. When she comes back from this second stint, if she fails another test, I'm going to fire her for cause. (Then she'll sign with SWF or USPW and waste away)</p>

[Gorilla Monsoon]

<p>1. <em>Besides Royal rumble into Mania, how would you decide who gets title matches at each PPV while saving your BIG title Matches</em>?</p><p> </p><p>

If you're just talking how do you decide who to push, generally I use somebody that I'd like to get over but isn't "there" yet. So they can lose in a match where they'll look strong in the process in the hopes that hanging with the champ gives them the boost they'd need.</p><p> </p><p>

2. <em>After finishing a season finale how do you decide who will face who at your next PPV</em>?</p><p> </p><p>

I feel like this would depend on what happened at WrestleMania. For example say Bobby Lashley lost to Brock Lesnar after MVP attempted to interfere, and ended up costing Bobby the match. You have a couple of paths. You could do the predictable thing and have Lashley get a rematch where MVP is banned from ringside, or you could do a story where MVP challenges Brock to try to prove himself to Lashley who's obviously doubting him after the screw up. Where in this case Lesnar will likely crush MVP, leading to his next true challenger blindsiding him after the match - or just coming out and challenging him directly, a'la NJPW.</p><p> </p><p>

3. <em>How do you decide who feuds with who</em>?</p><p> </p><p>

I'll pay attention to road agent reports during throw away matches. If I get a "these guys work great together", then I start thinking about a feud down the line. There's also the question of getting somebody over via working with a bigger name in a feud. Sometimes you have a new champion and you just need them to get some defenses and wins under their belt, so in that case you put them in the ring with somebody their level so the fans won't crap all over the match.</p><p> </p><p>

4. <em>How do you plan stories into your next Season Finale</em>?</p><p> </p><p>

It depends on the story. In 2016 I ran a NJPW promotion where I had a plan to build up Hirooki Goto for an entire year, before ultimately having him defeat Kazuchika Okada in the main event of Wrestle Kingdom. Unfortunately even in a video game Goto's life is the worst, and he got injured a week before the show and I had to come up with a Plan B at the final second. But sometimes you know what you want to do way in advance. Other times you have other stuff going on and you need to see what the roster is looking like getting closer to the timeframe you're shooting for. With WWE as an example, I could see the build toward a match starting at Royal Rumble where somebody eliminates somebody else and they don't take it well and re-enter the match and eliminate them as well - the age old standard. But you could also have somebody mock another person for going out early the next night, giving them an underdog storyline against a bigger name talent.</p><p> </p><p>

5. <em>How do you decide who will get that Big push if any push</em>?</p><p> </p><p>

Either it's somebody I just like and want to see if they'll work, or it'll be somebody who's been doing good matches for me. I imagine with most of these fantasy booking situations you're gonna run into a bit of 'thats my guy'. Like if you flat out hate Justin Credible, I doubt you'll push him in ECW. You'll likely bury him to get somebody else over, drop him, and then hire somebody you like to replace him.</p><p> </p><p>

6. <em>How many rookies and over 40 years talent do you keep around</em>?</p><p> </p><p>

Depends on how good their matches are. If every match is a dud, and they just tank overness then there's really no value keeping them unless they're valid road agents or something.</p><p> </p><p>

7. <em>Who gets fired who gets hired</em>?</p><p> </p><p>

If I have 80 people and I only need 35 then I'm gonna have to make some hard decisions. First anybody on the handshake/verbal agreement is up for grabs since there's no money involved in dismissing them. Then we go to the part timers who are gonna cost more than they're worth for the most part. From there we start at the jobbers and work our way up dropping those who I don't feel are that great on a personal level, or people I do enjoy but right now I don't have any plans for and it's better to dismiss them.</p><p> </p><p>

After that point, it's a matter of if I get an idea that could use somebody. For example if I'm running around with Samoa Joe as my World Champion, then I might think I should hire Austin Aries so I can run with the storyline of "this is the guy who beat Joe when he was the unstoppable year long champion of ROH". As far as firing goes it basically boils down to two factors. Do I have any ideas that involves them, and how big of a pain in the butt are they backstage.</p>

[Woodsmeister]

1. I always plan my season finale and work backwards, so SWF is my go to and in 2020 I have built to Golden vs Remo as the main event, and then i work backwards, I want Golden going after the belt so he needs to drop it before. So first PPV Remo beats Valiant to become no.1 contender, Golden rwtains over Rogue but is constantly stalked by Scythe whonis playing mind games, turning up, disapearing, leaving messages and hurting people close to him, Remo beats Golden at Feb PPV thanks to Scythe, the first time he gets physical against Golden. Golden can now go on to fued with Scythe, Bekowski, Avalanche and the manipulating puppet master Greed. Remo will be fueding with Gilmore and Crippler as they continue their fued. Golden will win the Welcome to the Jungle Rumble and get his chance at the season finale. Then i do the same with my other fueds incorporating where they are in this fued.

 

2. After the Season Finale is finished i build to the next one, i always have an idea of who i want to push, a story i want to tell or an opportuity to create a new star. But some of my favourite times are when i need to change things on the fly, a big new signing or an injury forces me to replan, thats when the creative juices get going.

 

3. Sometimes its who are my most over, or whos charactera clash that tell an easy story, who is the champion and who gets a shot, good chemistry is a no brainer.

 

4. So i will have ideas for who is going to face each other and work backwards, look at the bios, their gimmick, the belt, previous fueds for inspiration, sometimes i dont have an idea so i will just put them together and let them do promos, interact with other fueds and do it on the fly see what comes up.

 

5. Star quality, entertainment skills, psychology and overness, yes the latter i can move with big wins and good storylines but the others need to be there to be in my biggest fueds, or they need a mouth piece to carry them.

 

6. I like to bring in rookies to my development promotion usually RIPW and my B show until they get around 50 overness, my over 40s will start to work their way down the card when i can tell time decline is setting in, and depending on the stats of the rookies and their overness will depend how quick they move up.

 

7. I dont think ive fired anyone yet, i just let their contracts run out if i have no further use, if they have weaker stats than who they face they will lose to who is better, if i notice a big increase in improvement then they will get a gimmick change or repackage and work their way back up. Everyone has some useage, not everyone can win.

 

If you struggle with storylines just play the game as a roster management game, put the wrestlers together in matches and angles and see who improves, who performes well and just push who you like. Its a game find the way you like to play and run with it.

 

 

This video really helped me as i used to struggle to think of storylines but i played the way he did and then things started to come together

[kdcastles]

1. I use a lot of TV to determine who might have chemistry and use those with good chemistry with my champion for feuds between the big shows. That means if you want to hold a title for me, you must be able to work with a lot of people.

 

2. After finishing a season finale how do you decide who will face who at your next PPV? Use run-ins during or after matches, or promos to set up whoever you want to use. Just make sure it's someone who will get good enough ratings with your champ to keep him or her over.

 

3. Kind of mentioned it earlier, but I like to get that positive chemistry bonus, so I usually make decisions based on that. If no chemistry is known, I just pick based on who I think would have good matches together.

 

4. I book backward. I usually decide my WrestleMania main events about a year in advance. This allows me to book those two or three or four or whatever strong all year while also keeping them apart.

 

5. Star quality is very important and is usually the reason I push someone to the top. Just pushes to mid-card titles is usually based on chemistry, look, and or talent.

 

6. I usually try to have a balanced roster where for every face, I have a heel on the other side. So in a WWE, I treat Raw and Smackdown as two distinct rosters and there is never any crossover. I want to have 6 males with at least 91 OVR in America (3 faces and 3 heels). Then I want 10 between 90-81 (5 faces and 5 heels). Then I look for 16-20 mid card guys between 80-61 OVR (again, half faces and half heels). With my women, I want at least 2 over the 91 OVR threshhold, 4 over the 81 OVR, and the rest above that 61 OVR threshhold.

I want a variety of people to keep my matches different and I know I need some guys as fodder. I also keep more people in developmental than on my actual roster. If I'm keeping someone and I don't have anything for them at that moment, I'll send them to development so that they can work. Also, don't be afraid to build someone up to that 91 level and then let them go. It's more fun to work against a viable rival than somone that you crush. For instance, I've booked Miz to be my most over heel, and now that he's had his run at the top, I'm lost with what to do with him. So he's not getting booked much and his contract is up in a couple months. I'm probably going to let him go and see what another company can do with him. I'll probably cut Morrison and Maryse when I let him go as well because they are more just supporting characters for Miz than anyone I want to build around. This opens spots up for other in development.

[Zero]

<p>Answer questions </p><p>

1. Easy. What big matches do you want to see at your big show? Think of the matches and book backwards. How will you get here? I typically book from April (Post Mania) through August (To Summer Slam) and from September (Post Summer Slam) through March (Wrestle Mania). I use a word document that is broken into tables with the month at the top. </p><p>

2. After I finish a season finale, I ask myself “What is the next big match?” Or “Who would make an interesting challenger” And I go from there.</p><p>

3. Look above. What are feuds that you would like to see, think about a way to get there</p><p>

4. I don’t go into too much detail. Usually when I’m working out I think about the game and book in my head. If you were to open up my game and look at my stories, you wouldn’t get much. If you ask me personally what the plans are, I could tell you.</p><p>

5. I push who I want to see get over (and who the fans are rooting for)</p><p>

6. Depends. I usually send rookies to development for quite some time. I sign veterans and send them there as well. They get upset but OH WELL.</p><p>

7. I fire everyone or go into the editor and release pretty much everyone. If I have a top talent I don’t plan on using, I will release him. I want the game world to be competitive.</p>

[noknuckles]

If you play as WWE, you need to play like the WWE.

 

1. Besides Royal rumble into Mania, how would you decide who gets title matches at each PPV while saving your BIG title Matches?

 

Point to a random person on the roster. That person gets a title shot. Next night on TV, I have my champion cut a promo and that random person interrupts them. BAM that random person gets a title match because my company has no standards.

 

2. After finishing a season finale how do you decide who will face who at your next PPV?

 

Same as 1. Pick randomly

 

3. How do you decide who feuds with who?

 

See above.

 

4. How do you plan stories into your next Season Finale?

 

HAHAHAHA

 

5. How do you decide who will get that Big push if any push?

 

With one simple question. "Are they big?"

 

6. How many rookies and over 40 years talent do you keep around?

 

If there's a company trying to compete with me, then all of them.

 

7. Who gets fired who gets hired?

 

See above

[thadian]

1. Besides Royal rumble into Mania, how would you decide who gets title matches at each PPV while saving your BIG title Matches?
    
   
2. After finishing a season finale how do you decide who will face who at your next PPV?
    
   
3. How do you decide who feuds with who?
    
   
4. How do you plan stories into your next Season Finale?
    
   
5. How do you decide who will get that Big push if any push?
    
   
6. How many rookies and over 40 years talent do you keep around?
    
   
7. Who gets fired who gets hired?
   

 

1. What I do is start by knowing my roster. I know who's feuding with who on my roster, because I made the company in the editor. I have 4 big PPVs a year, and my biggest matches are reserved for it. Right now, I have Lloyd Nelson feuding with Lukas Astro and Paul Hunter. Lloyd will face Lukas at the big event - but in the smaller lead-in, they will have a 3-way. After Lukas wins, I will stick another face Major Star in with Paul and Lloyd to make Paul the number one contender. So, this can drag itself out for a while - the 1v1s happen on Big 4, the 3-way and 4-way on smaller ones.

 

2. By having them in the same story - in the above example, after Lukas wins the belt, Paul will win the Battle Royale and dethrone Lukas at my finale - their rematch will be at the next event, with Lloyd looming in the background, snipping at their heels. Now I have this other guy, Ashton Chase, who I would like Paul to drop the belt to at the end of this - if he's not ready, Lukas will get the belt back.

 

3. I designed my roster - even if I didn't, I think about these matters as I am signing someone. I don't just sign Wolf Hawkins. I sign Wolf Hawkins intending him to join the big feud, help Lukas even the odds, and when Ashton is ready, help him get over to get the belt, then Hawkins can feud with Lloyd, once he's pushed out of the picture. I also have like 16 factions - everyone is in a faction and this makes it easier to have faction-based rivalries. Old School Mafia is feuding with Next-Gen Outlaws - that gives me both the world title and tag title feuds. I can throw in a few major stars of other factions in there, too.

 

4. As gameplay progresses, I pay attention to who's rising, which factions are doing good, hate each other, etc. This helps me say "Killer Klownz just beat House of Krazies, and Hyper Cannons just beat Muscle Busters - now Hyper Cannons can feud with Klowns and Busters can feud with Krazies".

 

*Note - this also helps me maintain title sanity with my tag and trios titles, because it's faction based.

 

5. I look at who is getting big popularity and momentum - also, call me Stamford Gagne Vince, I sign and push people for dumb reasons - I like/dislike their render pic or profile text. This isn't proper gamism, however, it is proper narrativism. I like to ask "Who does it make sense for this person to hate". I also like to start beef - for example, a 4v4 match might result in one faction defeating two teams of different factions - who start a rivalry.

 

6. I plan my big stories around title pictures, and my smaller ones around faction rivalries. I have 12 storylines, I just had 16. I cycle people in and out of storylines as they fulfill a purpose. Lloyd will leave the storyline with Lukas and Paul to pursue Hawkins, in the above example, while Ashton Chase will join the title picture with Lukas and Paul. I give big pushes to anyone who needs escalated up the roster. This happens purely on company need.

 

7. I have 12 people over 40, including 5 of my 8 "Major Stars". Many will be retiring, and a self-imposed challenge in the structure of my company IS about replacing the old guard before they're gone. I stick rookies in developmental. When they cap, I move them to B-Shows until pop rises to around 50, then I start using them in Angles on my A-Shows to set them up for tag and 6-man action.

 

I like to save 1v1 matches to make them special. Also, because I have 3 brands, I do tend to forget who faced who how recently. So I use a lot of 3-way, 4-way, and 1v2 handicaps to get through the weeks leading into a PPV. Same with tags - I reserve 1v1 and 2v2 matches for when an older hand is explicitly putting over a younger one. Otherwise, it's a 2v4 or 2v2v2 or 3 way something.

 

Fired - Anyone who's time decline has rendered them unable to work 10+ minute matches. Anyone with a bad personality (bully, scumbag, etc).

 

Hired:

Anyone with safety starting above 60 and age below 25.

 

Anyone who's render or text I like (Stamford Gagne here).

 

Anyone who does NOT have difficult attributes like Scumbag, Bully, Political Player that also does have a positive upside in their skills.

 

 

Lastly: I have two developmental companies, and about 7 child companies without developmental deals. This lets me have a constant stream of jobbers to beat if I accidentally book myself out of options and just need some people to lose but nobody can afford to.

[neslo024]

Lastly: I have two developmental companies, and about 7 child companies without developmental deals. This lets me have a constant stream of jobbers to beat if I accidentally book myself out of options and just need some people to lose but nobody can afford to.

 

Not to high jack this thread but how do the companies without deals run? Are you still able to call their workers up if you aren't the one signing them?

[thadian]

They hire their own rosters. I have a function to "take worker", but I cannot send anyone down. I am not sure about borrowing them from developmental for one night because I haven't tried yet.

 

Also, to the thread - Season Finale is a meaningless term - for me, it's the blow-off of my biggest storylines, retirements, and induction for HOF. Otherwise, the next night, the next event is "the biggest thing ever".

[chm39]

1. What I do is start by knowing my roster. I know who's feuding with who on my roster, because I made the company in the editor. I have 4 big PPVs a year, and my biggest matches are reserved for it. Right now, I have Lloyd Nelson feuding with Lukas Astro and Paul Hunter. Lloyd will face Lukas at the big event - but in the smaller lead-in, they will have a 3-way. After Lukas wins, I will stick another face Major Star in with Paul and Lloyd to make Paul the number one contender. So, this can drag itself out for a while - the 1v1s happen on Big 4, the 3-way and 4-way on smaller ones.

 

 

 

 

I like to save 1v1 matches to make them special. Also, because I have 3 brands, I do tend to forget who faced who how recently. So I use a lot of 3-way, 4-way, and 1v2 handicaps to get through the weeks leading into a PPV. Same with tags - I reserve 1v1 and 2v2 matches for when an older hand is explicitly putting over a younger one. Otherwise, it's a 2v4 or 2v2v2 or 3 way something.

 

Fired - Anyone who's time decline has rendered them unable to work 10+ minute matches. Anyone with a bad personality (bully, scumbag, etc).

 

Hired:

Anyone with safety starting above 60 and age below 25.

 

Anyone who's render or text I like (Stamford Gagne here).

 

Anyone who does NOT have difficult attributes like Scumbag, Bully, Political Player that also does have a positive upside in their skills.

 

 

Lastly: I have two developmental companies, and about 7 child companies without developmental deals. This lets me have a constant stream of jobbers to beat if I accidentally book myself out of options and just need some people to lose but nobody can afford to.

 

I too sign people just because I like their Render.

Spider Isako, Aki something. Just recently hire Deanna desire and Rasheed something and turns out they have great managing chemistry.

 

I read somewhere about using a lot of tag matches for TV to save big matches but, I can't naturally come up with any they just feel random as hell.

 

Also how would you consider someone doing great in a match when their rating is usually somewhere around their popularity?

[chm39]

<blockquote data-ipsquote="" class="ipsQuote" data-ipsquote-username="thadian" data-cite="thadian" data-ipsquote-contentapp="forums" data-ipsquote-contenttype="forums" data-ipsquote-contentid="51701" data-ipsquote-contentclass="forums_Topic"><div>6. I plan my big stories around title pictures, and my smaller ones around faction rivalries. I have 12 storylines, I just had 16. I cycle people in and out of storylines as they fulfill a purpose. Lloyd will leave the storyline with Lukas and Paul to pursue Hawkins, in the above example, while Ashton Chase will join the title picture with Lukas and Paul. I give big pushes to anyone who needs escalated up the roster. This happens purely on company need.</div></blockquote><p> </p><p> When it comes to storylines do you just keep the same Story named maybe "World Title", for years and just cycle people in?</p><p> And how does this cycling process work?</p>

[rufas2000]

I play SWF and have the shameless "Supreme Rumble" in May. Winner gets the title shot at the Supreme Challenge in July. In June I do a multiman match for the title which also involves the Supreme Rumble winner (so they get two chances). If the Supreme Rumble winner wins the multiman match (which I had him do) then he defends against the former champ (which saw the Rumble winner and newly minted champ retain, solidifying his first run with the belt). This means I don't have to "spend" a marquee match in June.

 

I'll see about the other questions later.