>>16086332how to save aew, and okadas career
New booker - make the show feel important - this is from Claude when I asked why Gedo’s booking was considered the best prior to the pandemic;
When Gedo took over booking NJPW the notable differences that change the company’s perception:
Long-term storytelling: Gedo excelled at crafting intricate, long-term storylines that could span months or even years. This approach created more engaging narratives and rewarded long-time fans.
Push of new talent: Gedo was particularly adept at identifying and elevating new stars. The most notable example is Kazuchika Okada, back from excursion, allowing Naito to turn heel into LIJ
International appeal: Gedo’s booking style incorporated more elements that appealed to a global audience. This included pushing foreign talent like Kenny Omega and creating stories that transcended language barriers.
Match quality focus: usually the positive of AEW
Faction warfare: Gedo utilized the faction system effectively, creating compelling inter-group rivalries that added depth to the product.
Unpredictability: While maintaining logical storylines, Gedo wasn’t afraid to subvert expectations, keeping fans guessing and invested.
Big match feel: Gedo had a knack for building anticipation for major matches and events, making them feel truly special. Nothing really feels like a big match. Tony has thrown dream matches way too quickly with zero build up. Telling your audience to google it is lazy and not your audience’s responsibility
Utilization of the entire roster: He found ways to make most of the roster feel important, even if they weren’t in the main event picture. Hard fail in AEW, this has been beat to death. Roster is too big. People start/stop then disappear for months and everyone is in the same spot they were 5 years ago
