Hobbies And Interests
Instructions
Begin small. "Smackdown Vs. Raw 2010" allows multiple stories to be stretched over two years' worth of programming, into weekly television shows and monthly pay-per-views. Instead of creating numerous, long-running stories at once, focus on doing small stories at first. Once you are comfortable with the basics of the story creator, begin developing bigger stories.
Outline the story before starting. Make sure you know how many show's worth of programming are needed to complete the story. Figure out when to add in big animations and developments to the story.
Save one-on-one confrontations for pay-per-views. As with real professional wrestling stories, the free shows (Raw, Smackdown, ECW) should build up to the pay-per-views. The climax of the story shouldn't be given away. Use different variations, such as backstage segments, tag matches, run-ins and post match brawls to push the feud while keeping the two (or more) central wrestlers apart until the pay-per-view.
Use other wrestlers, especially if developing more than one story at once. This is especially effective in long-term booking. If you wish to have an angle between CM Punk and Randy Orton last for several months worth of shows, consider having other wrestlers that one or both have a history with, such as Cody Rhodes or the Undertaker, enter into the storyline. This keeps the story fresh and can build into moving one of the wrestlers into a story with someone else, for example, once Punk is done with Orton he could then move into a story with Rhodes while Orton feuds with Undertaker. Then the two can be brought back again.
Do not overbook run-ins or big events. While "Smackdown Vs. Raw 2010" allows such huge things as car explosions, these should be saved for when the story really needs an intensity boost just before the end. Similarly, run-ins become very old and cheap if used too often. Think of new ways to keep the wrestlers separate before the pay-per-view matches.
Create detailed segments by using different facial expressions, camera angles and environments. Backstage segments should be unique, interesting and directed to the important parts of the story. Similarly, do not have the wrestlers say something that could be shown in action.
Create interesting obstacles for the player-controlled character. Occasionally it may be interesting to have unusual conditions for the player to fulfill, like having to lose a match, drop a title or be disqualified by using a weapon against a hated rival. As with big events these should be used judiciously, but can renew interest in longer running stories.
Make sure that there are consequences to the action. If a wrestler is beaten up backstage, or has a car explode as they walk by, they should show the physical effect of that event the next time they appear.
Use online feedback. Posting the story online allows other players to rate it up to five stars. While there will always be some trolls, note the feedback from the other players and use it to strengthen this story or the next one.
Know when to end your story. Many real-life wrestling bookers commit the error of having a story go on far longer than it should. A satisfying ending can make a decent story become great.