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  #16  
Unread 01-18-2019, 05:51 AM
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#15: Area and regional battles

Area battles are reverting to their pre-2016 method whereby they are judged on show quality rather than roster star power due to the feedback from players. Area battles will take place if two companies of Big or greater size hold at least one show in an area during the month. The winner avoids any penalty, second place takes one point of popularity loss in each region of that area, third place loses two points, and so on, with a maximum of five points lost.

Regional battles happen the same way as in previous games, but the pros and cons have changed. The winning company gets a 5% boost to their attendance in that region for the following month. Every other position takes a 5% penalty to their attendances in that region for the following month, except for last place who take a 10% penalty.

Area battles therefore directly hit popularity whereas at a regional level the damage will be primarily financial, reflecting the different priorities of companies at each size range.

As a related change, the options menu now allows the user to toggle area and regional battles as two separate items rather than treating them both as one thing; this means that you can, for example, have area battles turned off while regional battles are turned on (and vice versa).
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Last edited by Adam Ryland : 01-18-2019 at 06:50 AM.
  #17  
Unread 01-19-2019, 03:16 AM
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Editor's Note

As the feedback on the previous entry has been that people do not like the idea of area battles being decided purely on show grades, we've decided to alter the game accordingly; as such, area battles will now be decided on a combination of the best show grade from the previous month and a score that reflects the star power of the roster.
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  #18  
Unread 01-22-2019, 08:02 AM
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#16: Company relationships, excursions

The new-look company relationships are as follows.

Each relationship consists of two sections; their respective opinions and the current status.

The opinions show what each company thinks about the other, ranging from Extremely Negative to Extremely Positive, with Neutral in the middle. These will change over the course of the game depending on their actions, and impact how they will react to the other company. Opinions are saved even if two companies have no other visible relationship, meaning that the game can "remember" previous acts of friendship or hostility.

The status consists of multiple statements that can either be true of false. They are:

A Owns B
B Owns A
They Are Sister Companies
A Is Friendly Toward B
B Is Friendly Toward A
A Has Declared War
B Has Declared War
A Is Hostile
B Is Hostile
They Have Agreed To Talent Trade
A Agrees Not To Steal From B
B Agrees Not To Steal From A
A Agrees Not To Sign Workers From B
B Agrees Not To Sign Workers From A
A Will Accept Excursions From B
B Will Accept Excursions From A
A Will Accept Developmental Workers From B
B Will Accept Developmental Workers From A

(Obviously some combinations are blocked, so a company cannot both have a hostile and friendly attitude at the same time.)

Any of these terms can be proposed / imposed or withdrawn over the course of the game. When a user is dealing with an AI company the response is instant, with players there are Decisions generated instead. With the AI, the opinions come into play - for example, if you've annoyed another company by rejecting all their proposed developmental deals, they may become hostile to you or at least be less likely to accept any further deals. The respective sizes, owner preferences, and relationships between the power players can also come into play.

On top of that, company relationships can have knock-on effects. For example, if you declare war on company A and they have a positive relationship with B, both A and B may declare war on you in response.

Sister companies are a new term introduced in TEW2020. This is an unbreakable bond and means the two companies are always on positive terms, always allies, and will be more willing than normal to interact positively with each other. This is a relatively rare relationship type which does not get generated organically during gameplay - it's designed to simulate real-life companies where they're so closely related that they share a lot of the same workers, staff, and even backstory / canon, such as Chikara and WiF.

This new system offers more flexibility than before as it allows many different combinations. You could, for example, have an agreement to send developmental workers to a company without actually owning them. You could have a one-sided war relationship. Or you could own someone but not have any relationship beyond that (although if you are the parent you can of course always impose a change to the relationship whenever you want). The introduction of the opinion mechanic also means that things are far less black and white than in previous games, and relationships can slowly (or sometimes quickly!) strengthen or weaken over time.

As can be seen from the status list, this also brings about another change from TEW2016 which is that excursions are now controlled and initiated by the companies, not the workers. The mechanic remains mostly the same - a worker is sent out to a foreign company for an extended period of time in order to mature - but it's now for the company to proactively make it happen.
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  #19  
Unread 01-25-2019, 03:01 AM
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A few title-related announcements, changes, improvements:

#17:Various title belt changes

The length of AI title reigns has been overhauled to make them more realistic and less likely to always fall within a narrow band of possible number of defences. This better takes into account the time frame and product of the company too.

Titles can now be set as Achievements; this means that the game knows that they're not a physical title and so will not append the word "title" when talking about them. This is useful for real world situations like the Royal Rumble or Money In The Bank where a physical belt is not present as it avoids having immersion-breaking text like "X has won the Royal Rumble title" - instead it'd be simply "X has won the Royal Rumble".

Titles can be set to be an Annual Competition. If this is ticked, the title can be specified as taking place at a specific event (this is optional) and given a format - this tells the game whether it should be competed for in a tournament, a battle royal, or a specific match type. The title can also then be set to either be retained or not; if retained, the champion(s) remain with the titles like normal (useful for things like Money In The Bank where it's an ongoing thing), otherwise they are simply added to the title lineage and the belt goes vacant until the next year (like tournaments in TEW2016). This new system allows better targeting of annual titles (i.e. a tournament no longer always needs to be the first event that a company holds that month) and allows better simulation of real world events like the Royal Rumble or King Of The Ring. It also means you can have more than one annual title per show, so you could have both the Andre The Giant Battle Royal and Money In The Bank set for WrestleMania if you were designing yourself a real world database.

Title belts can now be set to only ever be defended in a specific match type; for example, you could create a singles title that is only ever defended in three-way bouts, or a tag team title that is only ever defended in straight two-on-two action. This is useful particularly if you have titles that you specifically want for multi-wrestler bouts, but also is useful if you have a really prestigious title that you would prefer to only ever be defended head-to-head. These restrictions are for the AI of course, the player can choose to ignore them if he wants.
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  #20  
Unread 01-29-2019, 05:43 AM
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#18: Talk To Worker

Taken from WMMA5, a new feature to appear in TEW is the ability to 'talk' to workers.

The user can choose to talk to anybody (except other users) in the game world. They are then given a list of possible questions / suggestions / comments that are context-dependent that they can select from. The worker will then give an appropriate response. There's no limit to how many questions you can ask or how often.

A key part of this is 'influence', which is a measure of the user's position within the game world. For example, a user who runs the largest company in the world is going to have a lot of influence and his suggestions will carry considerably more weight than another user who runs a backyard company in the middle of nowhere.

This feature is still being added to as we go along to take into account new and modified features, but at the moment the questions can be subdivided into four categories: Career, In-Ring, Physical, and Lifestyle.

Career includes things like asking someone to consider becoming available to work in a new area, asking them to move their base, to reconsider retirement plans, consider retiring, or consider taking on new roles (like becoming a road agent, for example).

In-Ring includes things like asking them to change their style or change things relating to their in-ring related attributes.

Physical includes things like asking them to get bigger or smaller or proposing that they change body shape (like getting fitter or putting on more muscle mass).

Lifestyle allows you to suggest changes to their behind-the-scenes attributes, like trying to persuade them to stop drinking, drugs, etc

As well as giving a more naturalistic feel to the game, this also makes things more user friendly as a lot of different options are now in a single easily-accessible space rather than being spread across multiple sections of the game. It also adds in things which previously you couldn't directly impact; for example, if you're running the biggest American company and you spot a British talent that you like the look of, you could dangle the carrot of a spot on your roster to get them to become available in the US or even to move house to live near your development territory.

As I said, this feature is still being added to as we go along, so expect to see more on this when we enter the second phase of the journal and do "live" updates.
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  #21  
Unread 02-01-2019, 02:51 AM
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#19: House Shows

House shows have changed from TEW2016 in the following ways.

Firstly, the user now has control over exactly what days house shows fall on, and can edit that schedule in just a few clicks whenever they want.

Secondly, the house show loop (the regions to be visited and in what order) can be set and modified with just a few clicks too. The user can also move the "next place to visit" whenever they want, so if you want to skip places or reset the loop it's very easy to do in just one or two clicks.

A Smart Booking feature has been added, which can be toggled on or off, that means that the AI will automatically take fatigued or tired workers off the house show schedule temporarily until they recover.

House shows themselves also now have a bigger impact on workers; they can get fatigued over time if they're constantly working and injuries can now occur too (although both at a lesser rate than regular events).

Finally, the finances of house shows have been redone to make the ticket and merchandise sales more realistic and to make running house shows more of an important part of running a larger company due to the revenue they bring in.
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  #22  
Unread 02-05-2019, 02:37 AM
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#20: Merchandising

Your company's merchandising operation works as follows in TEW2020.

Firstly, you have an overall level between 1 ("Ramshackle") and 10 ("World Class") which tells the game how good your current operation is. The higher it is, the more money you're going to be generating.

There are two revenue streams that fall under merchandising, "live event" and "mail order".

With "live event", this is selling directly to the fans at shows. Based on your overall level you will see a value of revenue per fan; for example, at level 5 you may be told you're getting $3 per fan - so if you then draw 100 people to a show then you can expect to be making $300 that night.

With "mail order", this is selling to your wider fan base on an ongoing basis. This is based on your popularity points in each region. For example, at overall level 5 you may get $10 per popularity point, so if you have 30 popularity points in Quebec then you're going to be getting $300 each month from general sales in that specific region (regardless of whether you hold shows there or not). The wider your popularity, the more money you're going to start to rake in (which makes getting your product onto people's screens even more important than ever before).

You will always be able to see the exact "$ per fan" and "$ per pop point" via your merchandising screen - I've done them in that format because its very easy to understand for everyone. They are estimates however, and can be affected (for good or bad) by things like the economy and whether you have big merch sellers on your roster.

The advantage of this system is that as you grow in popularity and draw more fans you're going to see a direct and measurable impact on merchandising, as you would in reality.

From level 4 onwards, your merchandising operation involves running costs due to its size. These are clearly stated on screen in the merchandising section so that you know exactly what you're paying. It's a single "X per month" figure.

Moving from one overall level to the next requires you to invest in an upgrade. You have three choices: Normal, Conservative, and Rapid. The choice you make affects two factors: how much the upgrade costs per week and how many percentage points of progress it will give you. For example, if you're at the very bottom level then a Normal upgrade costs $50 a week and gives you 12.5% progress per week, whereas Rapid costs $125 per week but gives you 25% - so, as you'd expect, Rapid is going to get you up a level much quicker but you're paying a premium for that benefit. You can change which system you use (or temporarily stop it) whenever you like so that you can take into account your financial situation. This system means that the financial behemoths can flex their financial muscle to power through the process whereas those with tighter purse strings will have to be a little more canny, as in reality.

Upgrading at low levels is quite quick but at high levels it's very slow and expensive. However, getting to the high levels, especially level 10, can result in enormous levels of profits. The idea behind this is to simulate the way the WWE, with its well-established and world class merch operation, has a natural advantage over any potential rival because they've been able to build it up over a long period of time. If you create a new company in game then you're going to have take a lot of time to build up your own operation, and eat the associated costs, whereas a rival with a high level merchandising operation will be sitting pretty making lots of money and not having to worry about further upgrades.

As usual, you can preset all this via the editor.
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  #23  
Unread 02-08-2019, 06:19 AM
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#21: Ticket pricing

In TEW2020 the user can now set ticket pricing strategies for events, TV shows, and house shows. This allows the user to play around with audience size, expectations, and potential revenue.

This is all controlled via the new Ticket Pricing section of the user's office. This allows you to set the pricing strategy for each different type of show (you can also set specific events to override the settings via the schedule screen if you want) as well as see a display of what your current prices are (to help with financial planning).

The strategies are:

Normal: Gives no special pros or cons.

Premium: Tickets cost significantly more. This means that you will earn more money per ticket sale but that you will draw less fans and the crowd will have higher expectations with regard to being entertained. The level of attendance drop depends on how popular the company is and how attractive the show is.

Cheap: Tickets cost a little less. This means you draw more fans but get slightly less revenue. The attendance boost is tied to company size and the attractiveness of the show. This can be a useful strategy if you sell a lot of merchandise, as you can offset the loss of ticket revenue by selling more shirts, etc.

Very Cheap: Ticket prices are slashed. You get a lot more fans as a result but lose out on a lot of potential ticket revenue. The fans will be more tolerant of bad matches and angles due to the price reduction.

Free: No charge for entry. You can get a lot more people through the door but you're not earning anything from it. The crowd will be very tolerant of bad segments. As with the other methods, the change in crowd size is tied to company size and the attractiveness of the show.

Ticket prices on the whole have also been redone to better match reality.

This new system therefore reflects reality better and allows the user more options on how to do business, particularly in trying to grow a company and use merchandising as a money maker.
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  #24  
Unread 02-11-2019, 02:33 AM
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#22: Contract structure

The basic contract structure in the new game looks like this:

Type: Written or Handshake

Written contracts mean there is a legal agreement involved and so there are more restrictions. For the company, the worker is locked into the agreed amount and cannot demand pay rises and also cannot simply walk out, they must offer their notice first. For the worker, they cannot be released without being paid off the remainder of their contract.

Handshake deals on the other hand are not legally binding and so are much looser. Both parties can end the deal whenever they want and the worker is free to ask for pay rises.

Exclusive: Yes or No

Exclusive deals mean that the worker is tied to that employer can cannot work elsewhere unless specifically allowed to (such as being sent out on loan).

It is worth noting that, unlike previous games, a worker who signs an exclusive deal does not have to wait for his handshake (formerly PPA) deals to end before beginning his new job but can instead start immediately.

Pay: Monthly or Per Show

This is exactly as it sounds and has worked in previous games.

Iron Clad: Yes or No

Formerly known as the non compete clause in TEW2016, an Iron Clad contract is effectively extra security for the company; it means the worker cannot simply hand in their notice and depart. The worker can only leave if the contract expires or the company chooses to end the deal. This is only available for written contracts as handshake deals lack the legality to enforce this term.

Expires: Length or Ongoing

While contracts can still be for a specific amount of time, handshake deals now have the option to be "ongoing". This means that the contract does not expire and runs until either the company or worker decides it's time to end it (and which point a one month notice period would begin, normally). This is specifically designed to better simulate the independent scene. It also has the advantage that it means there's less negotiating and re-signing to do at the lower levels of the game. Most smaller AI companies in the game will use ongoing contracts.


The advantage of this new set up is that it gives much more flexibility than ever before; you could, for example, have a written pay-per-appearance deal that is not exclusive to simulate a "legends" style deal, or you could use a written per month contract but not make it exclusive. You can mix and match the terms as you see fit.

To reflect this increased flexibility, the in-game restrictions have been massively loosened. Notably, large companies are no longer forced to only offer written deals, so you could have a roster that has lots of different contract combinations to fit specific roles.

For example, if you're a big company you could have your core of workers on exclusive written deals but bring in a specific worker on a short-term pay-per-appearance non-exclusive written deal; as long as you're the biggest employer then you know you'll always have access to him (as already covered, shows are run in size order so the biggest company always has 'first dibs' on who they use) but that he's still free to work elsewhere on days you're not using him and you're only paying him if and when you do use him, plus you're protected against him simply walking out or being stolen.

Related to all this, downside agreements are no longer required to be offered until you reach Big size (although you can offer them below this size if you wish) in order to make small companies more realistic and manageable.
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  #25  
Unread 02-14-2019, 04:44 AM
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Two small ones for the pot today.

#23: Spiritual homes and politics

Companies can now be set to have home arenas AKA spiritual homes. This means the company is linked to a specific place in the Venues & Locations file. When in that particular region the company will always try and use the home arena (unless it'd be financially absurd to do so). This allows real-world situations such as ECW biasing towards using the ECW Arena to be simulated.

As an addition to the "reasons why a worker is absent" list, workers can now go into politics. This works in the same manner as the existing choices, like being in prison or on hiatus.
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  #26  
Unread 02-19-2019, 02:43 AM
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#24: Angles

The angle booking process has been streamlined considerably to improve how user friendly it is: the three main screens that people are used to (angle selection, angle booking, and freestyle angle booking) are now all the same screen in order to reduce clicking.

This modification also brings about another structural change in that when you go to modify a booked angle you are no longer stuck with the angle type that you began with. So if you booked a tag team interview and wanted to turn it into a tag team brawl, or even if you want to switch it to a freestyle angle instead, you can do that without the need to delete and re-add the segment. Changing the type doesn't affect the workers you've already booked either, so you wouldn't have to rebook them if you're just making a minor change.

On top of this, angles now have road agent notes just like matches. This allows you to add in crazy and stunt bumps, set workers to make cameo appearances, etc, etc. Turns are also now handled via notes, and there's a new road agent note that allows you to 'force' a storyline to advance even if you're not meeting the minimum requirements (useful if you want to do a one person interview and don't want to go to the trouble of booking a target / subject just to advance the story).

There is also a new Rated On category for angles, Fighting. This is for when you want brawls to break out.

Finally for today's entry, the way that angle ratings are calculated has been revamped so that there are more variables and randomness involved in order to make the process more detailed and realistic. The idea behind this is to make the ratings less predictable in general.
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  #27  
Unread 02-21-2019, 02:48 AM
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#25: Angles II

Searching through angles for the one you want is always problematic due to the sheer amount and possible variance of angles. To address this, the old system of angle categories has been removed and replaced with a new 'tags' system.

The way this works is that each angle has a line of tag text which can be up to 100 characters long. It is entirely up to individual database makers what format they use, but in the default data I use terms divided up by commas; so, for example, a wedding angle might have "Wedding, Marriage, Romance, Ratings, Heel Turn" as its tags. (For reference, the 2016->2020 converter automatically fills in some 'best guess' tags for each angle using the existing categories.)

When booking angles, right at the top of the page is a text box which the user can type any term in. The game then searches the angle's name, description, and tags for any matching term. So if you had an angle set up like this:

Name: "Pre-match interview"
Description: "A backstage interviewer grabs a word with a superstar."
Tags: "Backstage, interview, interviewer, short, talking, microphone"

Then searching for "interview" or "backstage interview" would return this angle.

Because this system removes the restrictions of having pre-set categories it means that database makers have a lot more freedom for how they divide their angles up, and the fact that the search looks at titles, descriptions, and tags means that it's quite powerful.

Another angle-related change is that the pre-booking screen has been updated to take the same format as the main angle booking screen that I described in the last entry; so it's primarily a single easy-to-use screen. On top of that, road agent notes can be pre-booked, and you can now add a pre-booked angle to the booking sheet even if one of the participants is not available (you'll obviously then need to replace that unavailable person, but this way you don't have to re-book the entire thing like you do at the moment).

Finally, I forgot to explicitly state this in the last entry, but with the addition of road agent notes this means that angles do now have a specific road agent assigned to them, just like matches do.
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  #28  
Unread 02-26-2019, 05:57 AM
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#26: Pushes & perception

One of the reasons I pulled the code apart and rebuilt it was to allow a rethink of some areas, particularly as some features had been in from the very earliest days of the game (and even back to EWR) simply because "that's how they've always been". Today we'll be looking at one of those fundamental changes.

In the past, pushes have always been done by picking your desired choice from a list, telling the game how you want the worker to be perceived. This was a system that worked fine, but it was very much a game-y feature rather than being realistic.

For TEW2020, we're ripping that system up and going with something far more natural.

So, first off, picking pushes from a list is totally gone, as are any related systems (such as auto pushing, complaints about being at the wrong push level, etc). Instead, you will now see a Perception level for each worker.

The Perception level, which ranges from Major Star down to Unknown, is how the fans see the worker. It is based on the worker's popularity and current momentum in comparison to the company's popularity. Unlike the old push system, this is not something you can directly edit, but is instead sensitive to how you actually use someone - so if you want to take an Unknown guy and make him into a Major Star you can't just pick it from a list, you need to book him strongly and get him over with the fans.

Because momentum plays a key part in how a worker is perceived this makes Perception far more volatile than pushes, so a worker can get hot and jump up a level or two and then go back down as he cools. This makes the roster more dynamic.

Of course, one major advantage of this new system is that it opens up the opportunity for fans to simply not take to a worker (or conversely to latch on to someone you weren't counting on) much more than in previous games - although you can of course try and book your way around any unexpected result.

Looking at the Perception gives the user a clear view of what effect that worker is having. A Major Star is somebody who you know is going to "move the needle" when it comes to attendances and ratings, whereas your Unknowns, however talented they may be, simply haven't connected with the fan base yet. This makes it more intuitive for users to get a feel for their roster.

Perception applies to everyone on the roster, which has the added advantage that it allows any divisions to be automatically taken into account - for example, unlike previous games where a women's division was a single push, in TEW2020 you could have a whole range of different Perceptions within the women.

Unlike the push system, Perceptions are absolute. That is, how the worker is perceived is not calculated in relation to the rest of the roster. This means that unlike previous games you don't have to have a certain roster "shape" - you could have an entire roster of Major Stars, or only Major Stars and Unknowns and nobody in between. This makes things considerably easier for database makers to put workers in their "correct" place on the roster without needing to fudge values.

It should be noted that although workers do take into account Perceptions when making decisions, they also still know their popularity too. So if you have one worker who is 10 popularity across the US and one who is 40 popularity, both working for a company that is 80 popularity, both would probably be Unknown to the fans but the second worker would still "know" that he's significantly higher up the food chain. So although Perceptions flattens out the roster in terms of the number of tiers, it doesn't make the game less detailed or nuanced.

So, overall, this makes the game more realistic both in terms of how booking impacts workers and how momentum affects the fans' view, removes a lot of annoyances regarding the necessity of auto-pushing and dealing with push-based complaints, takes away a lot of clicking and general admin work from the user due to the feature's automatic nature, makes database creation significantly easier, and allows women's division (and non-wrestlers) to be better integrated into the roster.
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  #29  
Unread 03-01-2019, 02:35 AM
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#27: Cosmetic immersion touches

As such a large proportion of the community likes to play historical scenarios, a couple of small cosmetic touches have been added to help with immersion in those situations.

Firstly, the Website (now just known as "Main Screen") has multiple skins that come into play depending on when you are playing. This includes a monochrome newsletter from the early days of wrestling, a colourful magazine for the end of the 80s / start of the 90s, and a garish 'early design' website for the late 90s / early 2000s, before the regular-look website becomes the standard. This doesn't change the functionality of the screen, it just helps give a better feel for the era you're in.

Secondly, all the news stories for that screen have been rewritten so that references to the modern world are time-appropriate. This means that you won't see references to social media until the quite recent past, and websites / the internet won't start popping up until the mid 1990s.

These changes aren't in any way ground-breaking of course, but they're just nice little extras to help people feel more connected to the game world.
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  #30  
Unread 03-05-2019, 03:07 AM
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This week will have daily entries and cover everything about broadcasting. It's like Shark Week, but less bitey.

#28: Broadcasters

The following are the changes that have been made to the Broadcasters themselves.

By request, each broadcaster can now have profile text to explain a little about them. As with workers, companies, etc, this just adds some colour.

The types of broadcasters have been expanded; there are still Pay-Per-View, Commercial, Free-To-Air, and Subscription, but each of those now has three versions, Terrestrial, Cable, and Internet. So that makes twelve in total. (I'm not sure there's actually such a thing as Terrestrial PPV in reality, but it would actually be more work to take it out, so I've left it in - it might be useful to someone somewhere down the line.)

The difference between the three new sets is one of power. Terrestrial offer the greater revenue sources but are the most demanding and hardest to negotiate with, whereas Internet broadcasters offer the least revenue per viewer but are pretty undemanding. This adds in a new layer of strategy when it comes to choosing who to deal with, as well as allowing things like iPPV to be properly simulated.

The old product settings for each broadcaster have been removed and replaced with a broadcaster style, which can be No Focus, Mainstream, Pure Sports, All Sports, Kids, Adults, or Sci-Fi. (The difference between Pure and All Sports being that the latter are more willing to allow entertainment-related wrestling). These styles do pretty much exactly the same thing as the old product settings, but the advantage is that it's significantly easier for database makers (one setting rather than twelve to achieve the same thing) and it's far more intuitive for the player.

The old Must Cover Home setting has been reworked to be a minimum requirement for the company base: it can be set so that the company must be in a specific region, a specific area, or a combination of areas ("North America" for example). This is far easier to understand and offers more control.

Each company can now be set to have maximum limits for how many companies in total they'll have deals with at any one time, and also how many individual broadcasting deals they'll have. This reintroduces and upgrades the ability for database makers to limit a broadcaster.

Coverage remains as it was, but the different levels are now absolute. That is, a "Big" rating means the same number of people regardless of the type of broadcaster (whereas before it didn't - for example, a PPV broadcaster with Big across America was not reaching the same number of people as a Commercial broadcaster with the same coverage setting).

The reason for this is that you can now see in-game the number of people this (roughly) equates to and how the various viewership numbers are calculated - this should make it easier for database makers to get in the right ballpark for what they want. The figures themselves have also been reworked to be more accurate, with an emphasis on trying to replicate WWE's real life numbers given that this is what I'd imagine most real-life database makers are most concerned with.

This will mean that database makers will need to spend some time rebalancing their broadcaster coverage levels if they convert them from 2016 to 2020, as otherwise you're likely to end up with overly high pay-per-view revenue for example, but I'm afraid that's not something I can really automate as it's something that requires a judgement call on a case by case basis.


Tomorrow we'll move on to broadcasting deals / contracts.
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Adam Ryland
Designer of TEW, WMMA, WreSpi, and Comic Book Hero
adamryland@hotmail.com

Last edited by Adam Ryland : 03-05-2019 at 08:09 AM.
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