Subscription. Das deutet ja dann auf sowas wie das WWE Network hin und wird wohl auch mit dem noch nicht genannten Feature zusammenhängen, nehm ich mal an.
Gefällt mir. Das isn dickes Plus.
Gefällt mir. Das isn dickes Plus.
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Feb 22: Broadcasting Deals (Part 1)
Broadcasting contracts \ deals have been revamped, making them more flexible and user friendly than ever before.
Firstly, the restrictive television seasons no longer exist; companies can now negotiate whenever they like, as much as they like. This is more user friendly, more inline with how flexible content is in today's world, and removes the fiddly process of having to wait for some contracts to end before you can start others.
Secondly, when negotiating, you are in full control of the length of the deal, being able to negotiate by length of contract (i.e. how many months, years, etc), the exact number of episodes, or both. This again is more flexible than the old system whereby contracts would run in strict seasons.
Thirdly, and perhaps most importantly, there is now a 'Minimum Quality Expected' value. This is what the broadcaster expects you to do with each show. The value is created by looking at the broadcaster's size, the company's size, and what time slot is being used. This replaces the old system whereby broadcasters would lose faith in you dependent entirely on your current size; the new method makes things far clearer in terms of what you need to achieve and means that the player is never in a situation where he can't control his destiny as to whether he stays on the air or not.
The way the minimum quality works is that whenever a company does a show that fails to meet that target it will upset the broadcaster; if you fail enough times, the broadcaster will cancel the show (the broadcaster's tolerance of failure is dependent on their Patience stat). You will be e-mailed whenever the broadcaster is upset.
Their annoyance can be reset back to zero in one of two ways; either when a new contract extension is signed or if the company requests to move to a worse time slot. Moving to a worse time slot means less revenue and less potential for audience growth for the company but means that the minimum quality expected is lessened, so there's a trade-off involved. (Of course, moving to a worse time slot will cause a block where you won't be able to move back up to a better slot for a while, otherwise you could simply bounce down and up to reset the broadcaster's annoyance level.)
A broadcaster who is upset may also refuse to extend a deal, even if they're not yet unhappy enough to actually cancel it.
To add to the stakes, being kicked off air for failing the minimum expected quality test will also result in the company getting a 'stink of failure' within the media community; this can result in other broadcasters not wanting to deal with the company at all until enough time has passed that the failure is forgotten. This can have devastating consequences for a company, as it may mean they get stuck 'off air' for an extended period of time. This adds to the drama, as you can end up in a situation where you can't afford even one bad show, and makes managing your broadcasters absolutely crucial. It also makes for an risk-reward split when it comes to signing long or short deals; a long deal offers more protection against failure but restricts your flexibility somewhat, a short deal does the opposite.
Tomorrow will be part two of this entry where we delve into some other aspects.
Feb 23: Broadcasting Deals (Part 2)
When making broadcasting deals you can either have them linked to general events or specific TV shows.
A TV show is only on air if it has at least one active deal, and when that show is held it is automatically shown on all the broadcasters who have a deal for it.
However, events work slightly differently. When running an event you get to choose exactly who, out of the broadcasters who have deals for it, will air it. This allows for ultimate flexibility, as you can customise each event to your requirements. For example, you could have one event shown on PPV in North America and nowhere else, have the next one not be aired anywhere, and the next shown on commercial TV in the US, PPV in Canada, free-to-air in Mexico, and on a subscription channel in Europe.
This also means that TV specials and the like can be simulated; all the user would need to do is create an event with an appropriate name and then show it only on that intended network.
Just about the only restriction is that the broadcasters cannot clash; so you couldn't, for example, show the same event on an American PPV broadcaster and an American commercial TV channel if they both cover the same regions.
To confirm, there is also no restriction on what type of broadcaster can be used. For example, you can, if you want, sign a deal that sees your TV show appear on a pay-per-view broadcaster and have all your events on a commercial broadcaster. It's a very flexible system that you can use however you want to.
One thing to note is that when you sign a deal you are creating a legal requirement to complete it. If a contract expires and you haven't completed the number of episodes \ shows that you said you would, the broadcaster is able to take legal action for breach of contract and you can end up with major legal fees. This is both realistic and, more importantly, stops players 'hogging' all the best broadcasters by signing a bunch of contracts that they don't need.
Feb 24: Broadcaster Control
Just a short one today.
In previous games if a company was owned by a broadcaster or media group then they were restricted to only being on the air with that entity and were unable to look for further deals.
By popular request, this restriction has been eased considerably and companies can now search out deals with other broadcasters as long as they don't clash with the owner's coverage.
For example, RAW in the CornellVerse are owned by The ASN broadcaster who are shown throughout Australia; RAW would not be able to deal with other rival Australian broadcasters, but they can now approach broadcasters from other areas in order to expand.
This change prevents some companies from getting 'stuck' in size due to their ownership.
'Broadcasting week' continues with three more new items:
Feb 25: AI Broadcaster Switching
The AI that handles a company's ability to intelligently move between broadcasters has now been upgraded to be more aggressive about chasing expansion and better finances and also smarter about not getting stuck with dead-end deals that are no longer suitable for them. This is another of the features that plays into making the AI act more like a human player and be more proactive.
Feb 25: Broadcaster Changes
In the editor, mod makers can now set up narrative-like 'events' that apply to a broadcaster during gameplay. This could be used, for example, to shrink or expand their range as the game progresses. For historical mods especially, this can be useful for simulating real progress \ expansion without needing to import or create an entirely new broadcaster.
Feb 25: Exact Viewers
As well as seeing the viewership numbers for a show in terms of a rating, it will now also be shown as a hard number. i.e. you will see "3.2 (4,100,000 people)" to give a better sense of how many eyeballs you had on the product. The numbers have also been adjusted to be closer to what you'd expect in reality.
Das ist riesig. Was mir jetzt noch fehlt ist die Möglichkeit anderen Ligen einen Sendeplatz anzubieten um so vielleicht noch etwas mehr Kohle zu verdienen. Zuletzt liefen auch zwei ROH Shows auf NJPWWorld also wäre das nicht ganz unrealistisch.
Feb 26: Creating Your Own Broadcaster
New to the game is the ability for companies to create their own custom broadcaster.
The company can select a name, logo, coverage size and range, and any of the four broadcaster styles that have already been covered previouslyin the journal.
The advantage of this to a company is that they get guaranteed air time as the broadcaster, being owned by them, cannot refuse negotiations nor cancel a deal.
The disadvantage is that it is hugely expensive to set up initially and has running costs.
Pay-Per-View, Commercial and Free To Air all simply have monthly running costs, with the former two relying on actually running shows to generate revenue. Free To Air has no way of making money and so would be a big drain on resources.
Subscription broadcasters work slightly differently. They have monthly costs too but they also generate revenue based on the number of subscribers. The subscription levels are based on the company's current popularity. For each region covered, popularity of 71 means that that region has enough subscribers to break even each month. Above that generates a profit, below that means a loss. There is an on-screen guide to the current profit or loss being generated.
A company can expand its broadcaster's coverage whenever it wants, although it's more costly to do it post-creation than it is to do it when the broadcaster is first being set up; therefore it can be smarter to build up a 'war chest' of money and do the broadcaster right first time around.
Each company is limited to having one custom broadcaster.
AI companies have the ability to form their own broadcasters too, it is not just limited to human players.
Feb 26: Giving Air Time To Children
Companies that have both their own custom broadcaster and a child company have the option of gifting air time to the latter. This means the child company can gain a broadcasting slot even if they wouldn't normally qualify, and they benefit from being unable to be kicked off the air or lose the deal.
This plays into reality, allows the child company to gain popularity quicker, allows the child company to generate more revenue, and allows the workers to gain some national exposure.
Die One Night Only Deals sind cool. Dadurch kann man bspw. in der WWE Überraschungsgäste im Royal Rumble bringen.(NB: Twenty five more days of the journal to go and there's still over three hundred items to get through, so most days I'll now be doing a main diary entry and then one or two quick ones from the 'minor features' list.)
Feb 29: One Night Only Deals
During the booking phase, the user now has access to a Hire Local button. This gives access to a list of all the unemployed workers who are local (i.e. those based in the same region as the show is being held) who can be contacted and offered a one night only deal. The negotiations are handled then and there with no delay, and if successful the worker is added to the roster.
This is useful for getting in local talent to act as jobbers for that night's show, or for getting a one-off mystery guest. It simulates being able to call up people who live relatively nearby (or are visiting backstage) on short notice.
The game recognises the one night only deal as a special type of contract that does not generate the usual 'too soon to re-sign' block, therefore meaning that if a local worker impresses during his one night appearance then there is no reason that you can't look into signing him on a more permanent basis afterward.
Feb 29: Search By Language
A much requested feature, you can now search workers by the languages they speak.
Feb 29: Search By Race
Following on from the above, you can also now search workers by their racial background.
Mar 01: Advance To Next Show
Mar 01: Advance To End Of Month
Mar 01: Advance To End Of Year
These three additions are all related so we'll handle them as one. The Multi Advance \ Fast Advance feature has previously required you to use a slider to select an exact number of days to skip through. This has now been upgraded with three extra buttons that allow you to move quickly to your next show (assuming you're employed and have one), the end of the current month, and the end of the current year. It's not ground-breaking by any means, but I know this will save a lot of people an awful lot of time.
Mar 01: Multi Advance Stop
By popular request, pressing space bar while on the loading screen will now cancel any ongoing multi advance that is in progress. i.e. when that day's loading is over you will return to the web site as normal and would need to manually restart the multi advance if you wanted it.
Mar 01: Inactivity Tolerance Change
In previous games all workers could get annoyed by being left off shows, even if they were under written contracts and therefore getting paid either way. As a slight upgrade to this, some workers - primarily those who are extremely money oriented or unambitious - will now not care if they're left off most shows as long as they're getting paid anyway.
Mar 02: Tag Team Upgrade
Tag teams have now been upgraded so that the AI can use them more realistically and logically. Duos are now defined as being either Units or Individuals.
Units are for teams who are closely aligned with each other; they will only ever turn together, never individually, thus preventing them from being split up accidentally by the AI. They are also much more likely to be booked to work together (even if they end up with radically different pushes) and also are far less likely to be teamed with anyone else.
Individuals are for loosely connected duos, for examples those who have just been stuck together short-term or who are singles stars in their own right. They can be split up via AI turns, and although they are more likely to be booked together they can also be booked with other people if needed.
These new definitions help tag teams act more like real life.
Mar 02: Teams And Falls
In previous TEW games everybody on the winning side of a team-based match got the same degree of impact for the victory and everyone on the losing side got the same degree of negative impact too.
This has now been overhauled so that the game uses a finer degree of control, taking into account the new Unit \ Individuals tag team split at the same time. For example, in a big one-fall multi man match, someone who neither won the fall, lost the fall, nor was a tag team partner of anyone who did barely gets any impact to his popularity due to the win \ loss because he was basically irrelevant as far as the result went. In another example, if Worker A gets pinned then he gets the highest degree of negative impact, his regular tag team partner Worker B would either get the same degree (if they're a Unit) or slightly less (if they're Individuals), and the rest of his team would get very little impact (assuming they have no other connection to Worker A).
This makes tag team \ multi-man booking far more realistic, especially in situations like Japan where you may have a couple of veterans tagging with a young boy; as long as it's the latter who takes the pin, the veterans aren't going to be particularly affected by it as nobody blames them. This also makes booking multi-man matches easier as you don't have to worry about hurting the popularity of guys who you only stuck in the match to make up the numbers.
Mar 03: Dynamic Spillover
In previous games the 'spillover' system worked by having surrounding regions receive a boost in popularity when one region reached certain pre-set levels. This worked fine, but did create a somewhat unrealistic effect with sudden increases and the associated impact on finances.
This has now been upgraded to 'dynamic spillover'. The system works as before, except that spillover effects are now created on-the-fly based on the current level of each region, no longer requiring pre-set levels to be hit. This means the spillover is a much smoother process that mimics reality much better.
The advantages of this, other than the realism, is that it means you (and the AI) can grow companies in a much more natural manner, as surrounding regions will grow in proportion to each other.
Mar 03: Money Cap Change
In previous games the most money a company could have was capped at 250 million. This has now been raised to $999,999,999.
This allows a much bigger 'war chest' to be amassed, which can be useful if you are planning to create a massive broadcaster of your own given their expense.
Mar 03: Drug Testing Clarification
In previous games, the cost of drug testing would catch some new players out, with them left wondering why a sudden increase had happened in the Misc Expenditure after a show. To counter this, the player will be mailed after each show to clarify that a drugs test has happened and exactly how much it cost.
Ryback vs Braun Strawman in einem 60-Minute Technical Masterclass-Iron Man Match confirmedMar 04: Match Aims
One of the issues that some people have struggled with in previous games is that the motivation behind most matches is only in your head, as the game itself has no concept of why the match is happening or what its purpose is. This is addressed in TEW2016 with the new match aims feature.
Every match now has a specified aim which tells the game exactly what the intent behind the bout is. This ranges from basics (that were used in previous games but to a lesser degree) like Calm The Crowd and Work The Crowd to specialisms like Comedy and Eye Candy to more spectacular items like Steal The Show and Technical Masterclass. There are 15 aims in total (NB this may increase before the release of the game).
The match aim is added via the road agent notes, and default automatically to Regular, the most basic type available. Many of the match aims automatically switch on other, related, road agent notes, so that there's no need to select them; for example, the Wild Brawl aim will automatically mean that the workers are going All Out, there's no need to also select that specific road agent note.
Different aims create different effects within the game. For example, Technical Masterclass will see the workers specifically rely on their chain and mat wrestling skills, will be useful for keeping a crowd engaged without making them too rowdy, but requires at least 15 minutes of ring time to allow the story to be built up properly. A badly executed Technical Masterclass could kill a crowd's enthusiasm though. On the flip side, Steal The Show will send the workers out to specifically try and tear things up with the most amazing match possible, but this is harder on them physically, burns them out quicker, and the pressure can prove too much and see them try so hard that they actually overdo it and the match can fall apart.
The different qualities that each aim brings is described in the game so that you know what to expect. Plus, the names are all pretty self explanatory, so there's nothing difficult to remember or learn.
The idea behind this concept is to make sure that your intent is actually registered by the game and makes a difference to the show, as oppose to just being in your head. This makes booking more realistic and more nuanced.
This feature plays a big part in two others that alter the way you will book in TEW2016, so we'll be covering them on Monday.