D-lyrium's Tew05 Faq
THIS WAS ORINGINALLY WRITTEN AND POSTED BY D-LYRIUM.... I THOUGHT IT WAS WORTH REPOSTING
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Total Extreme Warfare 2005 Unofficial FAQ
1- Managing The Roster
3- Storylines and Angles
4- Events, Television and Pay Per View
5- Other (Installing Mods, Technical Game Issues, etc)
1- Managing The Roster
Q: How do I assign a wrestler’s push?
A: From the ‘Booking’ screen (the pencil icon):
Click the ‘Overview’ button.
Then find the worker who’s push you want to assign, and click his name, followed by the ‘Select’ button (this is necessary as simply double-clicking a name sorts that column into alphabetical order).
With the wrestler selected, click ‘Assign Push’, and choose a push from the dropdown box.
The ‘Recommended Push’ button will tell you what the computer thinks his push should be. Sometimes a particularly ambitious or egotistical worker will want to be higher than their ‘recommended’ level, and some workers will put up with being stuck lower than their recommended level, but it’s your choice whether you give into their demands or not. You’re their boss, remember?
Q: How do I assign managers to wrestlers?
A: Follow the steps for assigning a wrestler’s push, but instead click the ‘Manager Options” button, from there you can choose anyone in the promotion to be the wrestler’s manager.
Q: If I can choose anyone, why does the ‘Manager’ position exist?
A: Because managers don’t get annoyed if they’re only used as managers. A wrestler who only appears in one or two segments as a mouthpiece or valet every week won’t be too impressed, but a manager will be fine with it. Managers also have no problem wrestling the occasional match, so if you have a Ric Flair type situation, Manager would be better than Semi-Active Wrestler (because Semi-Active workers get annoyed if you use them too much), even if they aren’t currently managing a client.
Q: How do I assign Road Agents?
A: There are two types of road agent in TEW. Those that plan out the matches and report back to you on how the matches went, and those who generally look after the roster at and between shows, make sure everyone shows up on time, etc.
The first type plan out the matches with the wrestlers backstage, and help them put on the best match they can. These are usually retired (or, in smaller feds, current) wrestlers, and will have high Psychology and Respect stats. To assign this type of road agent, follow the steps you’d take for pushing any other worker. It is this type of Road Agent that will appear in the Road Agent list when booking matches.
The second type are a team of people (five maximum) who work backstage to make sure all the wrestlers are happy, they know when they’re needed, they actually turn up to the correct arena, and do so on time, etc. There’s nothing to stop these road agents being the same people as the other type, and in fact they usually are. To assign this type of road agent, go to the ‘Your Promotion’ screen and click ‘Staff’, then click the rightmost ‘Change’ button. This second type are the ones you ask in the ‘Ask Road Agents’ section of the AM booking screen, they do not appear as road agents during matches (unless actually pushed, as above).
Q: What skills make a good [Job X]?
Announcers: Mic Skills, Respect.
Colour Commentators: Charisma, Mic Skills.
Referees: Refereeing, (Respect?)
Road Agents: Respect, Psychology.
Authority Figures: No specific skills, just good entertainment stats and popularity. The same as a good manager, really.
Backstage Workers: These guys don’t require any skills at all. The AI feds usually assign Backstage Workers simply because a given worker has no skills, or there are people more skilled at his original job than he is and are only kept around because firing them would be difficult (i.e, they own the company!).
Q: What do ‘Backstage Workers’ do?
A: It’s a category for workers who work for the company, but not in an on-screen role. Perhaps they have a specific job, but not one defined by anything else in TEW. Such workers are normally just omitted from the data as they don’t do anything, and thus aren’t required to be in the game (like WWE’s production staff, the merchandise stand employees, etc), however sometimes you might want to include them, either because they have a defined job in another company, the game wouldn’t feel right without them, or you just plain want them there.
For example, Tom Chehak is a writer for WWE Raw. Since there are only five spaces available on your booking team in total for both brands, you might not have room for him as he’s not very senior. You might want him in the game anyway though for whatever reason (maybe you ARE Tom Chehak and want yourself in the game ), so he’d be a Backstage Worker.
More relevantly, Dusty Rhodes works for the WWE, and is rumoured to make an appearance soon (at the time of writing), so he might need to be in, in case he does. Besides, what would a real life data update be without ol’ Dust?! Also, former WWE costume designer Rick Michaels was an indy wrestler, working for NWA: Wildside among others, so he’d need to be in the game in case you wanted him to continue wrestling.
Other Backstage Workers include: People with the ‘Locker Room Leader’ trait but no other real talents, people who are great bookers (so you might want on your booking team) but dont have any other real talents, ring announcers and Generic Female Employee’s That Vince Wants To Pay But Can’t Think Of Anything For Them To Actually Do (or 'Diva Search Losers' for short).
Q: I set a worker to turn, and put him in an angle that let him turn, but he didn't. Why not?
A: After setting a worker to turn, and booking him in an angle that allows him to, you need to run the show as normal. When you get to his turning segment, there'll be a "Handle Turns" button next to the Continue button at the bottom of the screen. Clicking that will enable you to make the turn happen.
Q: What are Locker Room Leaders? What do they do?
A: Locker Room Leaders are people backstage who are very respected by the rest of the locker room. To become a locker room leader, a worker needs at least B+ in Respect, and can’t have the personality traits ‘Jackass’ or ‘Selfish’ (Traits such as Bitter and Politician are acceptable though). Locker room leaders help improve morale backstage and help prevent fights and fallouts. As such, they’re good candidates for your Road Agent Team (My Promotion > Staff). Not having enough Locker Room Leaders can cause morale problems among the roster (especially with younger wrestlers, and especially if you have some Master Politicians on the roster).
Also note that you don't need to "assign" Locker Room Leaders. If you have any, they'll do their "job" automatically as long as they're available to do so (i.e, not if they're working for another company that night). They don't even have to be booked on the show, or play any part in it. As long as they're employed, they'll be there if they can.
Q: How do I raise a workers stats?
A: Wrestlers will gain the appropriate stats by wrestling, talking in interviews, acting in angles and just by existing. For instance, a wrestler who is wrestling great technical workers constantly will improve his technical ability. Workers who are often used in interviews will improve mic skills and charisma, etc, while sometimes a wrestler can improve stats just by training hard and watching tapes, even though they haven't visibly done anything (they don't just go into stasis when they're not wrestling ya know...). Bear in mind though that workers improve at different rates. Just because you don't see Flash Nooby's stats improving after every show, doesn't mean he's going to be D in brawling forever. If you're REALLY interested in exactly how much they're improving, you can find out from the in-game Editor.
Q: Why isn't this wrestler improving?
Q: Why are this wrestlers stats getting worse?!?
A: Just as different workers improve at different rates, some don't improve at all. They might be really old, and hence will deteriorate over time. Perhaps they weren't cut out to be a wrestler, and will never get better simply because they don't have the skill. Or perhaps they're just related to Terry Bollea.. Whatever the reason, some workers just won't improve at all. Just as with overness, some people can become awesome wrestlers with little effort, while some can toil for years and still suck.
Q: Why isn't my star wrestler getting over, even though I keep pushing him to the moon?
A: Some workers just don't get over. Adam calls this the 'Billy Gunn Effect'. No matter how much or how hard you push them, the crowd devoutly refuses to cheer or boo them to any great length. This is because each wrestler has a cap to their overness. For some workers it's very high, for some, it's quite low. Furthermore, because it's pretty much random, it's going to be slightly different for every game you play.
As it's essentially random, there's no way of knowing for sure if a wrestler is going to be Bill Goldberg, or Billy Gunn. The only way to find out is to try it and see (y'know, like real bookers have to). However, workers with higher Charisma and Star Power are more likely to have a higher cap.
Q: Is the ‘Booking’ stat important for workers in player-controlled feds?
A: The booking stat isn’t too important for workers on your roster, as it’s mainly to determine how good opposition bookers are and who is likely to be chosen for Head Booker jobs. There is speculation that the better your booking team are, the better and more useful responses you get from the ‘Talk To Booking Team’ button on the AM booking screen, but I haven't seen that much difference...
Q: What about the ‘Business’ stat?
A: As far as I’m aware, the Business stat only affects which promotions the worker will apply to own if the position becomes available (workers with poor business skill won’t bother applying to feds too good for them, and vice versa). I don’t think it affects anything where your roster is concerned. It might have some bearing on the Owner Goals in straight edge mode.
Q: Do people die in this game?
A: Yes, wrestlers do die in TEW2005. It tends to be older workers though, and is pretty rare. Workers are automatically removed from the game on their 81st birthday, though these workers aren’t necessarily deceased, just too old for the game to keep track of. Doing so would lead to an absolutely gigantic worker file as the game progresses. Deceased workers remain in the game until they become 81, as normal.
Q: Do workers that go 'On Hiatus' ever come back?
A: Yes. Similar to workers that go into rehab in EWR, workers that go On Hiatus will eventually return. They might come back next week, or maybe not for five years, but eventually they will return. However, workers who have Left The Business will not.
Q: I [Fired/Didn't renew the contract of/Let another promotion steal] a worker, now it says he refuses to negotiate with me. Will he ever want to come back?
A: If a worker leaves your employ for any reason, there's a good chance that they'll be upset about it (strangely, even if the reason they left was that they jumped to another promotion, they'll still accuse you of firing them). Such a worker will not want to talk about a new contract with your promotion for a while. I don't know of any fixed amount of time, but the minimum seems to be six months before you can renegotiate with them.
Q: I'm a Global fed, is there any way to sign other feds Head Bookers?
A: Simply put, no. Head Bookers suffer from a condition I've come to term "Paul Heyman Syndrome", as he's the most often cited example. The problem is as follows:
As a Head Booker, Paul Heyman won't sign any written contracts, because doing so would mean leaving his post as Head Booker.
As a Global federation, Heyman won't accept Pay Per Appearance offers from the WWE, as he believes a company that large should only be giving out Written deals.
So you can't sign Heyman (or any other Head Bookers) unless you're lower than National.
Q: My Road Agents keep saying that some of my workers are getting stale and need to freshen up their characters. How do I do this?
A: This basically means that the crowd are bored of their act now. No matter how good a worker is at playing a particular character, it's inevitable that eventually fans will get bored of it, and thus the worker will need to freshen his character up a bit, either with a gimmick change, a heel or face turn, or both.
Q: How long can a worker wrestle for without getting tired?
Q: How long can a worker with x Stamina wrestle for?
A: (Props to Apu for this one). Based on a regular match without the "All Out Match" road agent note:
D: 5 Minutes
C-: 6 Minutes
C: 8-10 minutes
C+: 13 minutes
B-: 16 minutes
B: 23-25 minutes
B+: Over 30 minutes but not sure how far
Q: Do staff members (referees, announcers, etc) improve?
[color=black] A: Most staff abilities are based on general wrestling stats (announcing, for example, is based on Mic Skills and Respect), so these improve as normal. Refereeing improves over time too (I'm not sure if it has anything to do with refereeing matches, or just being around the industry, though one would assume the former).
Bear in mind however, that if the workers Preffered Role for refereeing is set to never he won't be happy with a Referee push, no matter how good at it he is. I'm fairly sure Preferred Roles don't change (they might if a worker retires, but I've never noticed it), so there's zero point in "training" a worker to be a referee unless he already is one.
Q: How do I form my own promotion?
A: When you reach the 'Highest' level of Reputation (the one above Very High), you'll win the Top Booker Trophy. Clicking on this trophy will allow you to start your own promotion.
Q: Can I own a promotion myself?
A: In Free Style mode, you can start the game as an Owner (click the "Start as owner" button on the fed selection menu), and once in the game, you can apply for any Owner jobs as they come up.
However, in Straight Edge mode, you can never own a promotion unless you start one yourself (see above).
Q: How do I take over other promotions?
A: This is not a feature of TEW2005. You can't take over other promotions, the only way they can die is to go bankrupt.
Q: How do I raise my promotion’s popularity?
Q: Why does it say this show lost me popularity? It was A*!
A: The simple answer is: Put on a show where the overall show rating is better than your current popularity rating in the area the show is held. For example, if my popularity is 39% in New England, and I put on a show in New England, it would have to be 40% or above in order to improve my popularity. The popularity increase is usually small (unless it’s a very good show in a place you’re not very over), so don’t expect huge jumps.
Also, as you’d expect, the better the show is in comparison to existing popularity, the bigger the increase. So if my New England promotion’s second show was rated 65%, it’d get a lot bigger popularity increase from it than from the first show.
There is, however, a “problem” for you as a player. Without the editor, you don’t know exactly how popular you are. You only know to the nearest “ten-ish percent” due to the letter grades. So it can happen that a C rated show can improve your overness in a C rated area. Or, on the flip side, it can also happen that a C rated show can lose you overness in a C rated area. This overness gain/loss will be extremely small though. Not really worth worrying about.
This is why it often happens that when you’re a large promotion, and running shows in areas where your popularity is A*, you’ll often get comments that your A*-rated show lost you popularity. Don’t worry, it wasn’t very much, and it happens to everyone. It’s nothing you’re doing wrong, it’s just that since you only gain popularity by putting on shows better than your current rating, if your popularity is already 97%, it’s pretty damn hard to improve!
This is realistic though. It’s a lot easier to improve when you suck than it is when you’re awesome. So your shows when you’re a big company need to be very good, consistently. Just look at the WWE in reality. Throughout the late nineties and early 2000’s they built up a massive fanbase with awesome shows, and now that the shows aren’t as awesome as they have been, the fans turned on them. Although if the FWA hired Coronation Street’s writing team, we’d probably see similar results there…
Reaching a certain level of popularity in one region will also bump your popularity in certain other, connected regions up a bit too. The same for countries.
Q: How do I raise my promotion’s size?
[color=black]A: Size is related to popularity, as you’d expect. The size of your promotion depends on how popular you are in certain regions and countries. The categories are (from smallest to largest); Local, Small, Regional, Cult, National, International and Global.
Here's an updated list of the minimum requirements for each size category, thanks to 'insider info' from a reliable source:
Local - default.
Small - over 10% in one region.
Regional - over 30% in one region.
Cult - over 45% in two or more regions.
National - over 65% in 75% of the regions in the home area, and a minimum of 30% in all of them.
International - National at home, plus over 45% in 4 or more foreign regions.
Global - International, plus 60% in at least 5 foreign regions.
A note about National (not from the reliable insider info this time): To become National in the US, since America has ten regions, you'd need to be 65% or above popularity in eight (technically 7.5, but it's rounded up) regions, and above 30 in the rest.
Since Japan and England only have four regions, you'll need to be 65% or above in three (since obviously 75% of 4 is 3) of them and over 30% in the other one. All well and good.
However, Europe and Mexico have three regions each, so you need 2.25 regions. Mathematically, you'd round this down to two, but the game rounds it up, so in Europe and Mexico you need all three regions at 65% to become National.
Canada, as usual, is ass-backwards. 75% of 5 is 3.75, so judging by the fact that Mexico's 2.25 is rounded up, you'd expect 3.75 to become 4, right? Nope. You only need three in Canada.
Q: How do I raise my promotion’s prestige?
A: Prestige only rises and falls when a promotion rises or falls a size category (see above).
Q: Does Prestige matter? What does it affect?
A: Prestige affects whether or not workers will want to sign with you, and helps determine what priority they give to your fed. A very popular worker won’t want to work in a fed with no prestige, and if they sign for a fed with low prestige and one with higher prestige, they’ll work for the higher fed if both companies have shows on the same night. Even if the lower prestige fed is more popular.
Q: What does [Promotional Relationship Y] mean?
Q: How do I use other companies talent on my shows?
A: Despite being described perfectly well in the help files, a lot of people still ask this, so here goes:
Working Agreement: This is an agreement between two companies to work together and also to not permanently steal each other’s talent. If you have an agreement with a company, you can sign their Pay Per Appearance workers to contracts with your promotion without worrying about them trying to stop you, but you can’t sign any of their workers to Written deals.
This, of course, works both ways. The benefit of this scheme is that if you’re a small promotion, or a promotion that relies on a small pool of talent (like Hybrid, where MMA Crossover workers are in high demand but low supply), you can arrange to exchange workers with similar promotions without fear of them being signed to exclusive deals. The downside is that you still can't share Written workers, and other promotions not involved in the agreement will steal workers if they want to anyway!
Merely arranging the relationships doesn't automatically make the other companies workers appear on your roster though, you still have to sign them as normal.
Non-Aggression Pact: NAP’s are often between large companies and smaller ones, or two similar companies who don’t want to go to war. The pact basically means that the two promotions cannot under any circumstances sign any workers, written or PPA, who are already employed by the other company.
The benefits are obvious. If you’re a small company and you can get a NAP with a larger one, your workers won’t get stolen by them. Likewise, if you’re a larger company (but not large enough to get written deals), and you have a NAP with a company of a similar size and style, they won’t sign your workers, so they’ll always be available to you (unless they're also signed with a more prestigious company).
The downside is, that if the other company sign a talented worker before you do, you can't even think about touching him without breaking the deal (and with NAP's, I've found that breaking the deal leads to War far more often than breaking a Working Agreement).
War: Simply enough, two competing promotions. The effects of a war are that no worker can ever work for both companies (on a PPA deal). To sign with one, he must leave the other. There are also other subtleties involved with Wars, including certain workers taking things personally and hurling insults at the other promotions workers in the media.
Parent Company: A (much) smaller promotion will become your child promotion (like OVW and DSW are for WWE, for example). The advantages of this are (theoretically) obvious: You can send your crap workers down to your child company to improve, and they’ll screw up their shows instead of yours! In practise, however, most child companies are too small to get a TV Show, so they’ll only run one show a month, which means all your development workers will only get one chance a month to improve (and some might not even get booked at all).
Thus, it’s probably a good idea to limit the number of workers you have down there at once, and use your ‘developing’ workers who are already pretty good in Dark Matches for you instead.
Once a development territory grows in size, they’ll often feel the need to break ties with your company and go it alone. If this happens, all workers in development with them will return to your roster, and the company will no longer be available as a territory (unless you offer another Parent Company deal).
Q: How do I send/call up workers to/from development?
A: Assuming you have a Parent Company relationship with a promotion, simply go to the My Promotion screen and click on Development. From there it’s pretty straightforward. Note though, that you can only call up workers you sent down. You can’t call up workers signed to the development fed by the fed themselves (and since you can’t assign development workers in the editor, this means that in all real life stats updates as the WWE, you won’t be able to call up any of your workers from DSW or OVW until you sign them to contracts, and will then have to send them back down again.
3- Storylines and Angles
Q: Help! I can’t continue a storyline because there are no angles that fit the criteria!
Q: Storylines never advance even though I did the right angle.
A: Storylines are pedantic. Everything has to be done right. For example, one point states that Face is a Major Target and Heel is a Major Catalyst in an Attack angle.
All of these conditions must be met for the angle to work. You can’t have Face as a Minor Target, or a Major Catalyst, or anything else, he MUST be a Major Target. It must also be an Attack angle, so even if you have the roles right, if it was in a Hype angle it wouldn’t work.
It sounds complicated, but it’s not if you pay attention. You can find out exactly what roles each wrestler needs to be in from the Booking > Storylines screen.
Another thing that needs mentioning here is that sometimes you’ll be asked for an angle with more participants in it than you need. For example, in the default data ALL ‘Request’ angles involve an Authority Figure. This is obvious, as there needs to be someone to request something from! However, in a Storyline written by someone on the forum, you might have to book a Request angle where it only requires your two feuding workers as two Major Catalysts. In this case, think of the requirements as minimum requirements. You must have AT LEAST the two major catalysts. One of the default angles will still work, even though the Authority Figure isn’t involved in the storyline.
Sometimes however, you’ll find storylines where there are no angles that fulfil the requirements; either due to an error in the storyline, or the fact that no such angle exists (which could also be considered an error in the storyline). You might, for example, be required to book an angle where a Major Catalyst attacks a Major Subject in an Attack angle. You won’t find any such angle, because all Attack angles feature targets, not subjects. In this case, create the angle yourself and import it. Then edit the storyline in the main database and change the Subject to a Target to avoid it happening in future games.
Q: What do all the roles mean in Storylines and Angles?
A: Firstly, let me point out that Angle roles and Storyline roles are different. Just because a wrestler is a Catalyst in a Storyline, doesn’t mean he has to be a Catalyst in every single angle.
Catalyst: Someone causing something to happen. The main proponent in the angle. If Kane is beating up a jobber in the ring, or Chris Jericho is cutting a promo on someone, Kane and Jericho are both being Catalysts. It’s possible (and very frequent in fact), for both workers in an angle to be Catalysts. If Kane is fighting with someone, rather than just beating the crap out of him, then the other guy might also be a Catalyst, as opposed to a…
Target: The target of something physical. A worker being beaten up is the main example of a Target. I… er… can’t think of any others, actually. So yeah, a target is someone getting beaten up either backstage, or in the ring. If they don’t fight back much, and their main purpose is to get their ass kicked, they’re a Target. Example: the jobbers who partake in the Angle Invitational or Masterlock Challenge every week. Targets are almost always on-screen (I can think of one solitary example of an off-screen target; The old “go into a locker room and shut the door, then make fighty noises” trick). Unlike a…
Subject: The subject of a non-physical attack, or something two people are fighting over. If John Cena cut a promo on Edge (I would probably fall asleep, but also) Edge would be a Subject, because although Cena is targeting him, he’s not beating him up. If Kane beat up a close friend of Matt Hardy, to send a message to Matt, Matt would be a Subject. If Christian kidnapped Trish, just to annoy her boyfriend Chris Jericho, Jericho would be a subject (as well as Trish being a target). Subjects can be on or off-screen
Support: Anyone who isn’t anything else, basically; anyone who’s involved in the angle but not in a major way. The horde of road agents coming to a workers aid after a vicious attack are Supporting characters (if they were included at all). The muscle head bodyguard that accompanies the heel to ringside when he cuts a promo is a Support character. Authority Figures can also be support characters, but they tend to be one of the other roles depending on the situation. If it’s just a worker coming to ask for a match, they’re Support. If they’re being beaten up by a worker to get said match, they’re Targets. If a bitter employee is talking smack about them because he refused to give them said match, they’re Subjects.
Catalysts: All the main characters will be Catalysts. If Shelton Benjamin and Charlie Haas are feuding over who the better worker is, they’re both Catalysts. If Triple H, Chris Benoit and HBK are all involved in a World title feud, all three are Catalysts. Catalysts will be by far the most common Storyline role, and there will be at least two in most storylines.
Targets: Anyone who is usually a target (as defined above) in the storyline. It doesn’t mean they can never be anything else, just that most of their airtime is spent getting beaten up. As an example, most of Chris Masters’ more important victims would be Targets. They sometimes appear as Catalysts when challenging him, or Subjects when Masters brags about beating them, but are usually being put in the Masterlock and submitting.
Also, in certain storylines such as the “$100,000 Bounty” that Evolution put on the head of Shawn Michaels (and the other Bounty storylines from earlier in history), Michaels would be the Target in that storyline, because the whole point of the storyline is that lots of people try to beat him up. He could also be a Catalyst, but I’d class him as a Target, personally.
Subjects: Subjects are often female valets that two workers fight over (see: Jericho vs. Christian over Trish, Hogan vs. Savage over Elizabeth, Matt vs. Jeff over Lita, etc). Other Subjects include managers and tag team partners. Basically, anything a feud is fought over, where the winner gets the subject as a “prize”. Titles would very often be subjects, if they were able to be.
Support: Anyone not directly involved with the fighting of the feud, but involved in it enough to be included. Authority figures, friends of workers involved, tag team partners of workers involved, girlfriends of wor… you get the point. Anyone that needs to be included because they have a large-ish role, but isn’t any of the other categories.
As I said before though, roles in Angles and Storylines are independent. A Catalyst in a Storyline doesn’t have to be a Catalyst in every single angle, it just means he’s a main character.
Q: How many angles do I need in a show to make [Style X] fans happy?
A: Courtesy of derek_b with additions from some other people too, these are the approximate angle requirements for various styles of fed.
Traditional: 80% matches:20% angles
Cutting Edge: 90% matches: 10% angles
Pure: 100% matches: 0% angles
Hybrid: 100% matches: 0% angles
Hardcore: 80% (perhaps 75%) matches: 20% (perhaps 25%) angles
Sports Entertainment: 75% (perhaps less) matches: 25% (perhaps more) angles
Lucha Extreme: 80% matches:20% angles
Family Friendly: 75% matches:25% angles
Underground: 90% matches:10% angles
4- Events, Television and Pay Per View
Q: What's the difference between a Touring and a Normal schedule?
A: A Touring schedule only runs shows during certain months of the year. Think of them like seasons in other sports - there's some downtime when they're not putting on shows. Whereas Normal schedules run all year round. Touring schedules tend to be less lucrative, purely because there's less time to earn money, but it's easier to keep workers morale up, because they get a break every now and then (unless they work for other companies, but that's their own fault ).
Q: My promotion doesn't have any shows. How do I create some?
A: There are three types of show you can promote: a live event, a television show, or a Pay Per View.
Live events are the basic wrestling event, you can put on a live event any time you like, via the Your Promotion > Schedule screen. Click the Add Event button under the right-hand black box, and fill in the appropriate details.
Your show can be anywhere from thirty minutes to four hours long (don't forget though, that generally the longer the show, the more wrestlers you'll need to pay to wrestle on it), you can also set it to be either a Weekly show, or one that happens annually.
Finally, you can set how large the show is in the eyes of the company, from a small independant show, to a large blockbuster presentation. This is also where you'd set PPV's (more on that later). When you're done, click Save, and the show will be created. You'll automatically be taken to the booking screen when you reach the PM part of the day the show is held on.
Television shows are similar to weekly live events, except that to hold one you need to have a TV deal (see questions further down the page). Also, unlike live events, a TV show will affect your popularity in every region the show is shown in (viewable from the profile of the Network(s) it's shown on). This is what makes TV shows so useful - you can gain popularity in areas without even going there (holding shows in areas where you're completely unknown would usually be a bad idea - you'd lose a lot of money due to the reduction in ticket sales. With television, you don't lose anything).
Last, but by no means least, are Pay Per Views. PPV's are similar to TV shows, in that you need a network (in this case, a PPV Carrier) to broadcast them. The difference, however, is that unlike TV networks, PPV Carriers ALWAYS broadcast to entire countries (and sometimes more than one country). Thus, you have to be bigger to get a contract with one.
Once you have a contract with a carrier, you can create PPV's by choosing the 'PPV' option from the regular live event creation screen. PPV's, as with TV shows, affect popularity in every region they're broadcast in. You also earn (or lose, if it fails miserably) money from PPV's, as the whole point is that people pay to view them.
Q: What are House Shows?
A: House Shows (Your Promotion > Schedule > House Shows button) are non-televised events that a promotion holds many times a week in different locations, to give fans in those locations exposure to their product, and also give the company and wrestlers a chance to try out new things before they're put on TV. House Shows are generally unimportant, very rarely does anything unpredictable happen (title changes, hugely interesting matches, etc). They're just a chance for fans to see the wrestlers live.
In game terms, House Shows are needed by large companies to maintain their popularity. Obviously with two shows a week, the WWE can't be in every town keeping everyone happy all the time. That's where House Shows come in. If you notice your popularity dropping in areas you haven't visited for a while, it's probably time to use House Shows to sort that problem out. While they will never RAISE your popularity, they will help to slow it's decline until you can hold a TV show there.
You can only hold a house show when you have ten workers on written contracts. PPA workers will never appear on house shows. You also can't book house shows (there's no point, they're usually just a random assortment of matches). To run house shows, go to Your Promotion > Schedule, click the House Show button, and select the days and regions you want to run them. The regions will cycle through in order, starting again from the top when they get to the bottom, etc. You will get reports on how much money each show made during the week. Note, however, that it's pretty pointless running house shows in areas where you're less than C- popularity; you'll struggle to make any money from them, and there isn't a whole lot of popularity there to maintain in the first place.
Q: How big does my company have to be before I can get a TV deal?
A: TV networks will agree to air your show if you're popular in the regions they broadcast in. If, for example, a network broadcasts in New England and the Tri-State, you need to be fairly popular in one of those areas before they'll accept you.
Another variable is the size of the network. If the network above was Tiny, you'd need a lot less popularity to get on it than if it was Huge. So as you can see, there's no "You need to be this popular before you can be on TV" statement to make in TEW05, but as a general rule, don't even think about it before you hit Regional.
Q: Can I have two shows on the same day?
A: You're not allowed to air more than one TV show on the same day. However, you can tape more than one per day, and you can also have a TV and a non-TV show on the same day (a TV show before a PPV, for example). House Shows seem to be irrelevent; you can have one every day of the week and still hold "proper" shows as normal (highly, highly not reccomended however. Your workers will be absolutely knackered in a matter of weeks if you have a house show every day ).
Q: I rescheduled my TV show but it still airs on the same day. Is this a bug?
A: As alluded to in the previous question, the day you tape your TV show (Your Promotion > Schedule, click the TV show, then click Reschedule) and the day it airs are different. In reality, for example, WWE Smackdown used to be taped on Tuesdays and aired on Thursdays, while Monday Night Raw was live. The same options are available to you in TEW. You can't change the day the show airs unless via TV Network negotiations. Also, being taped and aired on the same day isn't the same as being live.
Q: When are you allowed to re-negotiate TV deals?
A: February, May, August and November.
Q: Why has my show suddenly dissapeared?
A: There are two possible reasons. A, it's been cancelled, or B, it's contract ran out. If it's March, June, September or December at the moment, then it's probably B.
Every three months TV networks reschedule shows (as they do in reality, where it's known as the Sweeps). If your show was in it's last season, and you didn't renew it's contract, then you won't have a show any more. This is why it's important to keep an eye on how many seasons your show has. To do this, go to Media > TV Shows. Then click yours and click View Profile. This'll show you loads of info on your TV show, including the length of contract remaining, this is inclusive. If it says 1 Season Left, you're in your last season now, and should renegotiate in the next Sweeps month.
If this doesn't apply, then your show has probably been cancelled due to low ratings. You would've had previous warnings, and then a message upon cancellation though, so it hardly counts as "suddenly dissapeared", does it? You sucked, they chucked your lousy show off the air because they couldn't bare it any longer. Simple
Q: How do I get a TV show?
A: During February, May, August or November, go to Media > TV Networks and filter for a network likely to accept you. To be accepted, you need to be popular in the region they broadcast (i.e, to get a show on a Huge network that broadcasts all over the US, you need to be hugely popular in lots of US locations. To get a show on a Tiny network that broadcasts in the South UK region only, you only need to be quite popular in the South of the UK). When you've selected a network, open it's profile and click Request Negotiations. You should hear from them shortly (whether it's been rejected or accepted), in just the same way as a worker would contact you.
Q: How do I get a PPV?
A: First, you'll need a PPV Carrier (a 'network' that will air your PPV's). Getting one is much the same as getting a TV network, except that you can apply to PPV Carriers all year round. Go to Media > PPV Carriers. There you'll see a list of all the PPV Carriers available. They all have sizes and broadcast locations ("Blast Areas") just like TV Networks, except they only broadcast to entire countries, not regions. This means that you'll generally need to be at least National to get one. Once you've chosen a PPV Carrier, click View Profile, and then Request Negotiations.
Once you've secured a Carrier, you can set up PPV's from the Events screen as described above.
Q: Why did my PPV Carrier drop me? I'm A* popularity all over the country!
A: Popularity doesn't necessarily mean people are going to buy your PPV's, and if nobody is buying it, your carrier will terminate the contract. Do get viewers, you need hot storylines (where applicable), and interesting Advanced Bookings. Not many people will pay to see a show they don't know the card for, or do know the card for but don't care about it.
Q: How do the letter grades relate to the percentages?
A: Like this:
F: 0 - 15.0
E: 15.1 - 22.5
D: 22.6 - 30.0
C-: 30.0 - 40.0
C: 40.1 - 50.0
C+: 50.1 - 60.0
B-: 60.1 - 66.0
B: 66.1 - 74.0
B+: 74.1 - 80.0
A: 80. - 90.0
A*: 90.1 - 100
Q: My game won't work!
A: As amazing as it sounds, this statement alone doesn't help very much. Please refer to the TEW Technical Support Forum:
When posting there, don't forget to tell us any information that might be useful, such as which TEW and Windows versions you're using, CPU speed, RAM, etc.
Q: I think I've found a bug, how do I tell Adam?
A: First of all, try searching the forum. There might already be a post about your problem. If not, then head over to the Tech Support forum:
and post about your problem there. Don't forget to include as much information as possible about your PC, which TEW version you're using, and anything else that might help to solve your problem.
Q: Where can I get real wrestlers?
A: There's a whole forum full of 'real-world' updates, historical scenarios and other fantasy databases as well as worker pictures and other graphical modifications in the TEW 2005 Mods forum, here:
There are two particular real-life mods that have proven popular over the years, those being:
You can also find picture packs there, full of pictures of real-life wrestlers that are compatible with both TEW2004 and 2005.
Q: How do I install Mods?
A: Quoted (almost) directly from ViggoVickers' post in the Mods forum:
Ok, so you've downloaded a data mod from a 3rd Party (e.g. RaveX, T-Zone, etc.) and you've saved it to your local harddisk. Often they are compressed in either the .rar or .zip format, which you can uncompress with a program such as WinRAR .
To actually install the data into a database ready to use in your TEW2005, run the game, and click on "Editor" from the main page. From there, goto "Create database".
Then you will come to a screen in which you can name the database. It is up to you what you call it, though it is best that you give it a name in reference to the actual data, such as the Mod team's name, and then the data it was released (My example: Data10-16-05). Once done, click "Create database". (NOTE: Some characters can not be used to name databases with, such as \/:*?"<>|)
A prompt will show onscreen, to confirm the database has been created, and that it has been set as your default data (nothing to do with the CornellVerse). Use the back arrow at the top of the screen, to go back to the main starting page.
Now remember where you extracted (uncompressed) the downloaded data to, go to it. Select all of it (left click and drag, or Ctrl+A) and Copy it, by either pressing Ctrl+C or selecting Copy from the Edit option at the top of the window.
Now, you want to go to the Directory (Folder) you installed TEW2005 to. The default location is: C:\Program Files\GDS\TEW2005
We need to go to (assuming you installed TEW2005 to the default location): C:\Program Files\GDS\TEW2005\Data
Once there, go into the folder which is named the same as the Database we created earlier. For me, that would be Data10-16-2005. Notice that all the files in there are 0KB, because they are empty.
Now remember we copied our extracted (uncompressed) data, we now need to Paste it into this folder, so we can use it. Either use Ctrl+V or Edit>Paste at the top of the window. It will then come up with a prompt, something like this. Just click "Yes to All", and your new Mod data will be pasted into the database ready to use.
Now notice that the files are no longer 0KB. Plus they are all selected, this is good confirmation that you have pasted them successfully. Remember when you created the Database, it was automatically set as your default, all you need to do is play.
Q: The computer just signed a worker from me, but he was on a written contract! The computer cheated!
A: No it didn't, you just weren't paying attention. During the last thirty days of a workers written contract, he is open to negotiations from other companies (as well as from you). Thus, if you don't get him to sign a new contract as soon as possible, he may well accept an offer from a rival promotion. You will always be notified, via your diary, of up-coming contract dates, so make sure you re-sign talent before anyone else can. Also note that you cannot negotiate contracts during their last week. If you leave it that late, they will refuse to renegotiate, and leave your promotion when their contract runs out.
Q: How do I change the date the game starts on?
A: In the Editor, under Database Info, there's an option to change the start date there.