8周时间造就一个摔角手

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& J9 G, W& A' S) A) I原作出处及作者:不详，望见谅。
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* J( f0 T# Y# i# m翻译者:138538

  D3 k8 c+ v# [/ j7 k- _3 a~~这篇文章好像是写于2003年，但是内容有点意思，希望大家喜欢。
本人水平有限，难免有错误，欢迎大家指正。
文中观点为原作者所有，与本翻译者无关。
; y/ L" m  k5 x) ?% B# S+ O最后，感谢本文原作者提供文章。~~
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**转载请注明出处**
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                                                         8周时间造就一个摔角手

& a! t1 _3 }6 k9 D  首先，WWE是一个摔角公司，我想这一点是很明显的，它真正的重磅产品是剧情而并不是摔角本身，很显然扎实的摔角技巧将会给一个摔角手很多帮助，但丛根本来讲这取决于摔角手的角色，这就是为什么Chris Benoit总是Main Event的失败者，而Angle却总在Main Even上大放异彩。

    WWE在挑选一个摔角手时，它会去考虑某些确定的事情，事实上这些事情是什么没人会知道。也许有人会认为WWE在挑选某场胜者的这一过程是完美的，实际上这并不象我们想像的那样。但是，我所要讨论的目的并不是WWE会去挑选哪个摔角手和为什么会去挑选这个摔角手，因为这一点并不重要，这或许是任何一个摔角手，只要他能扮演他所被赋予的角色，但有一点是剧情编写者所不能控制的，那就是一个摔角手的接受剧情与表演剧情的能力。
1 Q  t  z6 K9 V  T  但一个摔角手有没有这种能力和能力如何这并没有关系，他仍然需要一些事情去完成。他需要一个角色和一个可取的剧情，这就是剧情编写者的目的，目的在于推销一个摔角手。
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3 c9 ~% e0 l2 E. x. n  当你阅读这篇文章的时候，我能看见你正在踮你的脚，嘴里嘀嘀咕咕“是的，是的，我知道这些啊！”但请你坐下来，因为下面我将切入正题。当你浏览任何一个摔角论坛的时候，你可能会看到对这样一个话题的评论“一个好的角色是如何被掩埋的”这些话题的跟贴内容大多是“一个角色是如何被彻底毁灭的”“一个角色永远不可能被重新认真对待”。好吧，就算我胡说。假定你可以控制WWE的组织与计划，那你可以在8周时间里成功推销出一个摔角手。
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  那么这8周有什么特别的吗？好吧，那你也许会强迫着使事情改变，使它的时间变的更短，但这是不可信的，因为观众们不会留下很深的印象，还有对摔角手来讲四周时间也许只有仅仅4场比赛而已，不足以让大家来接受他。而8周时间对摔角手来讲有更多的实践时间，可以使他们与其他选手建立不和关系，让这一直发展，然后在PPV上了结恩怨，这是一个恰好的时间长度。

  当然，我所说的“8周成功推销一个摔角手”仍然有许多限制。举个例子，你总不能让一个骨瘦如柴的人去挑战世界重量级冠军腰带吧！因为这违反了WWE的规则。如果比赛呈现给你的是大块头总能修理小瘦子的话，那么让一个150磅的人去赢得世界重量级冠军腰带的想法是永远不切实际的，无论你做了多少努力，观众是不会买账的。

% t4 @1 S9 A3 Y: S; z: ?  你或许会对这个骨瘦如柴的家伙作很多事情让他去改变然后让他从Jober转变为一个真正的轻量级头衔的挑战者。你也可以有选择性的去做，例如RVD，他的双打队伍现在的处境十分困难，也可让他去挑战世界重量级冠军腰带，这二者都可以在8周内完成，而且步骤是相同的。

4 H  K+ M. O- M, g4 K( L第一周 激发摔角手的斗志
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! W! I, o* ~; H/ x8 O: U4 s3 @6 B  正如以上我所提到的那样，WWE是一个剧情与角色的控制器。如果一个摔角手想成为一个真正的竞争者，那么他必须在言谈举止各个方面有一定戏剧性的改变，这里有许多激励方法（或许娱乐观众也是其中之一吧）。

  一个可行和简单的方法就是让他与实际的冠军腰带拥有者之间产生个人恩怨，这个个人恩怨必须要是合理的，但一个家伙从冰箱里偷走了另一个家伙的三明治这样的个人恩怨显然是不会起到任何作用的。但如果说让冠军腰带拥有者去嘲讽他一文不值，一事无成，这时故事开始起效了，这样才会让他得到前所未有的关注，而且观众才会去相信这个故事。
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  那么第一周到底做什么呢？这里有一个例子，Funaki是一个Jober（实际上他比这要好很多），他时常要去面对一些超强的家伙，毫无疑问他会输掉比赛，自从他被WWE雇佣那天起就是如此。那么现在让Matt Hardy（轻量级腰带拥有者）在Funaki输掉比赛后数落他一番：“我很同情你现在的处境，但你真丢人啊，你可真是一事无成”我敢说这足以激怒Funaki，让他去证明接下来会发生什么。
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第二周  让他去真正的赢得一场比赛

7 H( m" N- x' [* m0 i  既然你已经激励了摔角手，让他为新的目标而站，那么就让他在擂台上展现他的雄风吧！！

  这里有一个简单的方法，搞一场简短的比赛，选取一个Jober，名气小点儿的就足以，然后让我们的摔角手对其进行火力十足的攻击，但有一点要注意，不要是那种彻底的痛扁，目的在于让观众认为我们的摔角手是毫无疑问的胜者就行了。不要去做任何事情，让这一切去进行，这已经是一个猛然的飞跃了，但是得让他在赛后进行一个简短的发言或是表情上交流。
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. |! P" y5 O7 I7 q% o7 _  好吧，让我们继续来拿Funaki做例子，这个原理适用于任何摔角手，无论是Heel还是FACE。Funaki出场了，没有了以往和蔼可亲的笑容，对观众几乎不去理会，上场就对 JOBER进行排山倒海般的攻击，然后毫无疑问的取胜了，这一切只需用5分钟。赛后，Funaki并没有在台上大喊大叫进行庆祝，默默的离开擂台，然后在走廊里与Matt Hardy相遇了，两人进行了一番表情的交流，然后Funaki离开。

第三周  赢得第二次胜利
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5 K% E. ~8 r" W5 r& W  第二次胜利应当与第一次胜利有所不同。第一次几乎是乱拳挥舞的痛扁，向人们展示了他坚定的决心与信念，而没有展现出他过人的技术。所以这一次他的对手要比上一次难对付一些，但这次这个对手也不需要是超级明星，一个比较有技术选手就可以。让这场比赛的时间长一些，最后我们的摔角手坚持到了最后赢得了比赛。

  Funaki这次的对手是Tajiri, 虽然Tajiri不是超级巨星，但是他的技术可以让他与Funaki为观众上演一场精彩的比赛。在比赛末尾留出10分钟充满悬念的时间，两位选手互相压制，悬念就在每一次几乎要取胜的那一刹那，但是Funaki最后压制成功而取胜。赛后，Funaki在台上进行了庆祝然后离开。
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第四周  叫嚣出你的对手

  现在到了与你的不和对象开始战斗的时间了，你已经在观众中树立起了可信度，你充满了斗志，而且你已经证明了你有赢得比赛的能力。所以，你现在可以叫嚣出你的对手向他挑战。但这一次的挑战应该被拒绝，这可以使剧情在未来有所延续。二位摔角手互相打几拳便草草了事，这不失为一个好点子，因为这可以吊起观众的胃口。

    Funaki向擂台走来，表情看起来很轻松，脸上充满了笑容，然后拿起麦克风开始讲话，他简单的概括了一下Matt Hardy对他所说的话，还说在过去的两周他已经赢得的两场比赛，然后矛头指向Matt Hardy，叫嚣着要求与Matt Hardy进行一场一对一的比赛，接下来身挂腰带的Matt Hardy出现了，说到：Funaki还不够资格向我这样一个轻量级冠军发出挑战。正在Matt Hardy转身离去的时候，Funaki冲上前将Matt Hardy打倒在地，然后扬长而去。
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第五周  报复
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  真正的事情要开始了，我们的摔角手看上去状态非常好，而他的对手已经被气疯了。那么对手接下来要去做什么呢？他去找了一些帮凶来支援他。一个简单的方法让这一切进行，那就是后台打斗。如果你摔角手是FACE，那么就让他挨揍，如果是Heel，就让他去揍别人。

  有一种方法就是扰乱比赛，但我可不是一个喜欢看有被扰乱的比赛的人。但“扰乱比赛”与现在这种情形很匹配。当你的摔角手正在比赛的时侯，他的不和对象与帮凶冲入赛场干预了比赛，这种情形为日后的决斗埋下了种子。

    Funaki正在与Jamie Noble比赛，这是一场势均力敌的比赛，看上去Funaki站了上风，Matt Hardy突然间冲了进来，而这时帮凶Shannon Moore从擂台旁边爬上擂台，趁Funaki不备，将其击倒在地，然后离了开场地，Noble上前压制，获胜！！

$ V6 }& O  \- c2 v# J第六周  双打时间

' i1 `1 n0 @& ]- M: e: H  当然了，这不是真正意义上的双打队伍，这是一支临时构造的队伍，目的是为了使这种不和关系继续向前发展，去挑选一位合适的摔角手与你的那位摔角手搭档去抵抗不和对象与其帮凶。但有一点很重要，压制3秒而取胜这一动作过程一定要让你的摔角手完成。这一切取决你想到底想怎样玩(underdog,统治性的力量~~~)。压制对手自己或是其搭档均可。
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+ J( V& G: y% U: ?; Z& i    Funaki和Billy Kidman 一起搭档对抗Matt Hardy和Shannon Moore，这是一场艰苦的比赛，Funaki最后得到机会压制Shannon Moore成功。虽然Funaki赢了这场比赛，但他还没有打败Matt Hardy，还没有赢得冠军头衔。

5 o3 ]3 e) E3 ?2 C( U, ^1 S第七周  重新发起挑战
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% _/ L3 M- v0 W6 L  现在你的摔角手应该再一次发起挑战。这一次怎样玩要根据你的摔角手是Face还是Heel。如果他是Face的话，让他的对手不要去接受挑战，然后让对手去挑选一名摔角手来与你的摔角手进行较量，你赢了比赛的话才有资格向冠军挑战。

" z# @/ |! c4 M, q) W  另一方面，如果他是Heel的话，对手会迫不及待的站在擂台上等待你的挑战，这时候你不要上场，而要让你的帮凶上场，你就象个胆小鬼一样站在旁边观看。综合这二者，你可以让比赛在你与对手的帮凶之间进行。这场比赛要有一个恰好的长度和不失火候的表演，最后，你赢得了比赛，这是必须的。

    Funaki因为几日来连番获胜，入场的时候意气风发。他站在台上宣称要向Matt Hardy重新进行挑战，并要求Matt Hardy大胆的站出来。这时候Matt Hardy出现在了入场道的起始位置上，Matt Hardy会说：好吧，看来我真得防卫我的腰带了，但是现在你要证明一下你的能力到底如何？如果今晚你能打败Shannon Moore，那么我接受你的挑战。
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* _$ a* _) s+ I1 i' A, E  与Shannon Moore的比赛接近尾声，Funaki马上就要压制成功了，Matt Hardy突然将Shannon Moore从擂台上拉了下来，但是Funaki克服了种种困难而最终赢得了比赛，证明了他具有下周挑战Matt Hardy冠军头衔的资格。

0 r- V: D% p3 }  |, C/ i第八周  决战

  这可以说是最简单的一点了，过去7周建立起来的持续不和关系已经使观众认同了这一点，你的摔角手已经有了足够的信誉度，现在要做的是选择让谁赢得比赛了。
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' j% S% q/ R+ \  那现在你已经明白了这一过程了，在8周时间里怎样去推销一个摔角手，这可以适用于任何一个摔角手。这可以被认为是一个公式，无论对Face还是Heel都有效。当然了，如果需要的话，塞点广告可以比8周更长；弱化不和关系的建立也可以使这比8周更短。

" `+ x. Y/ N# L1 |  如果你挑选的摔角手缺乏感召力和擂台表演技巧，那么这8周的计划将使观众厌烦。你可以运用这一基本的计划而演变出许多不同的方法来针对摔角手的不同角色。

, y% z3 l4 V, v) p8 K' `  现在我已经表达完了我的观点，我不想再听到有关于“一个摔角手是如何被掩埋的”“一个角色将无法拯救”这些话，因为这一切可以在8周内改变。
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$ K! ?1 N9 U8 I) {原文如下:
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Making a Wrestler in 8 weeks
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2 V; V/ R7 y( d1 T7 E    While the WWE is obviously a wrestling company, its product is really powered by storylines not wrestling. Obviously solid wrestling skills are going to help you a lot, but fundamentally it's about the character. That's why Chris Benoit is always on the edge of the main event, and Angle is usually in it.
The WWE picks wrestlers that it thinks have a certain "something." Exactly what that something is, nobody knows. It's not as though the WWE's track record at picking winners is particularly good after all. However, for the purposes of this discussion, it really doesn't matter why they pick who they pick. It could be anyone, so long as they can play the role assigned to them. The one thing that the writers have no control over is the wrestler's charisma. Either they have it, or they don't. `
But no matter how charismatic the wrestler, he still needs some material to work with. He needs a character, a role and preferably a storyline, and that's where the writers come in to give the wrestler his push.
I can see you tapping your foot as you read this and muttering… "Yeah, yeah, I know that." Stay with me, I'm about to get to the point. If you read any of the forums on the wrestling sites you're likely to see comments about how a certain character has been "buried." These statements are usually followed up with the sentiment of how the character is irretrievably damaged and will never be taken seriously again. Well I say nonsense. Given the setup that the WWE has, you can push any wrestler back to being taken seriously within a period of 8 weeks.
Why 8 weeks in particular? Well you could force the issue and do it in less time, but it won't be credible. Wrestling viewers have short memories, but not that short, 4 weeks is really only 4 matches for the wrestler. That's not very long to re-establish them. Eight weeks is more practical and also, though not coincidentally, is a good length of time over which to run a feud ending up at a PPV.
" p6 H# H2 [1 S$ r$ D* JNow while I claim that you can push a wrestler to credibility in 8 weeks, there are some limits. You can't for example push Spike to be a credible challenger for the World Heavyweight Title Belt, because it goes against the "rules" of the WWE. If every other promo and match is showing you that big guys beat the little guys, the notion of a 150lb guy winning the Heavyweight belt is never going to be credible no matter what you do with the man.
You could however take Spike and turn him from regular jobber to serious Cruiserweight contender. Alternatively you could take a man like RVD, who's essentially in tag-team limbo right now, and push him to challenge for the Heavyweight belt. Both of these could be done in 8 weeks, and they would both be done using essentially the same steps.

$ `$ g% Z' N3 Q# U! a' Y0 v- X: eWeek 1 — Motivate the Wrestler
/ m( d4 O+ ]; L, Y: s3 v6 u& nAs I've already mentioned, the WWE is story- and character-driven. If someone is going to become a serious contender, they need to have a reason for their dramatic change in behavior. There are a number of ways you can provide that motivation (and maybe even entertain the audience in the process).
  ~# V; e7 o* P% |One possibility is simply to give the wrestler a personal grudge against the current titleholder. It had better be a good grudge, though. Stealing the guy's sandwiches from the fridge just isn't up to the job. Now if the title-holder mocked your wrestler for being worthless and never amounting to anything, that's the sort of thing that can get under your skin, can make you focus like never before. Audiences will believe that.
; J3 W7 J7 K* p7 o- @8 LHere's an example of how it might play out in week one. Let's say that Funaki has one of his traditional (and actually rather good) jobber matches to BigGuyOfTheWeek?. Funaki of course loses, since that's what he's been employed to do. Now say that Matt Hardy (who just happens to be the current cruiserweight champion) has a conversation with Funaki after his loss. Matt commiserates with Funaki and says it's a real shame he has no Mattitude, he obviously just doesn't have it in him to amount to anything. I'd say that'd piss Funaki off enough to justify what comes next.
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* W9 H' E% {7 j* SWeek 2 — Give Him a Credible Win
Now that you've established a motive for the wrestler's new dedication, you have to show how that impacts the wrestler in the ring. The simplest way to do that is to give him a win. This should be a short match with the bulk of the offence coming from our wrestler. Not an outright squash but with our wrestler the undoubted winner. So you feed him a jobber, not a big name on your roster. At this point you don't do anything more than at most nod to the cause of the sudden change. Perhaps only a recap or an exchange of looks.
! |' L( u# i7 Z2 F  Q3 vWe'll stick with Funaki for our examples, but the principles could be applied to any wrestler whether heel or babyface. Let's say that Funaki comes stomping out; he isn't showing his usual smiling likeable persona. He barely acknowledges the crowd. He hammers his opponent, Jobber #1, in a 5-minute match, getting a convincing win. He leaves the ring with no celebration, and in the hallway he passes Matt Hardy. The two exchange a look, then Funaki walks away.
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Week 3 — The Second Win
The second win should be different from the first. The first was almost a squash. It showed the wrestler was determined and focussed, but it didn't showcase real skill. This time you want to put him up against a name. Not a top name, but someone with some credibility. You also want the match to be longer and for it to be more even. This shows the wrestler's tenacity and drive to win.
/ F9 l0 r% ]5 g& j: S3 w5 aLet's put Funaki against Tajiri. He's not a top name, but he has the skill to put on a solid match with Funaki. Give them a 10-minute match during which they both come close to winning, but Funaki finally gets the pin. After the match Funaki stays for a moment to celebrate, then leaves.

Week 4 — Call out Your Enemy
Now is the time to really kick the feud into gear. The wrestler has established his credentials; he has motivation, and he's shown he can win. So have him call out his opponent and challenge him. The challenge should of course be rejected at this point, which just serves to spur the wrestler on further. It's also a good point to throw in a few fisticuffs between the wrestlers, just to keep the crowd hyped.
Funaki comes to the ring, he's looking more like his relaxed self again, smiling and cheerful. He grabs the microphone and starts to speak. He quickly recaps what Matt Hardy said to him and his two wins in the last two weeks. He goes on to call out Matt Hardy, demanding a one on one match. Hardy comes out, with title belt of course, and explains how the cruiserweight champion only wrestles worthy opponents. As Hardy starts to turn away from Funaki, Funaki lets lose with a couple of blows, knocking Hardy flat. Funaki then leaves the ring.
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Week 5 — Payback
This is when things really begin to build. Our wrestler is looking pretty good, and his opponent is pretty damn mad. So what does the opponent do? He calls in his friends for a bit of assistance. One of the easiest ways to do this is simply a backstage beating. If your wrestler is a face, you can have them beaten up by their opponent and his friend; or if he's a heel, you can have HIM beat up the opponent and his friend.
$ N1 @  |9 j/ w  JAn alternative to that is the ubiquitous run-in. I'm not a fan of run-ins in general, but this is a circumstance where they're quite well suited. Essentially what happens is that your wrestler is engaged in a match against someone when his feud opponent and a friend interfere to cost your wrestler the match.
Funaki is facing Jamie Noble; the two are relatively evenly matched. It looks like Funaki may be gaining the upper hand, when suddenly Matt Hardy comes down the ramp. As Funaki turns to look at Hardy, Shannon Moore slides in to the ring from behind and takes down Funaki, leaving him open for Noble to pin.
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Week 6 — Tag Team Time
7 t1 k6 Q* D' @. p9 L; B$ K% J4 ]Of course this isn't a real tag team. It's just a temporary team-up to further the feud. You pick another appropriate wrestler to team with your guy and then put him against his feud opponent and partner. The most important thing here is for your wrestler to get the pin. Depending on how you want to play things (under-dog… dominant force etc.) the pin could be against the feud opponent himself or against his partner.
9 n* r8 K1 O7 {. ?Funaki and Billy Kidman face Matt Hardy and Shannon Moore. After a hard-fought match, Funaki finally manages to pin Shannon Moore. Despite winning, he's still never managed to beat Matt Hardy. The title belt is still out of reach.
- i7 x; @; d' [" q" F% L
5 }: H8 f" H, Q4 r+ t7 S9 JWeek 7 — Re-issue the challenge
4 x, h: t! b4 KOnce again the wrestler should issue his challenge. How this plays out depends on whether your wrestler is a face or a heel. If he's a face, then his opponent tries to avoid the match by saying he'll only put his title on the line if your wrestler can beat a challenger of his choosing.
On the other hand, if your wrestler is a heel, then his opponent is eager to face him by this stage. However, his friend steps forward instead, and your heel wrestler is left with no choice but to wrestle him or look like a coward. Either way, you have match between your wrestler and his opponent's friend. The match should be of decent length and fairly close. But of course, your wrestler will eventually win.
Funaki comes down to the ring smiling and listing his recent successes. He issues his challenge to Matt Hardy again and waits for a response. Hardy appears, but stays on the ramp. He says that, sure, he'll defend his title, but only if Funaki proves he's worthy. If Funaki can beat Shannon Moore one on one, then Matt will defend his title belt.
3 q1 u; ~3 G8 W. B1 M9 JThe match with Shannon Moore is close; Funaki manages to get a pin on Shannon, when Matt interferes pulling Shannon from the ring. Despite this interference, Funaki overcomes the obstacles and finally wins the match, setting up his title bout with Matt Hardy the following week.
, Q' X5 o9 T/ A2 ]) C* ^" o8 c
Week 8 — The Match
This is the easiest bit. The last 7 weeks have set up the feud so that the crowd cares. Your wrestler has plenty of credibility: all you have to do now is decide who wins.
: ]8 N8 R) q: @) G' tSo there you have it. How to push a wrestler, any wrestler, in 8 weeks. This basic formula will work for heels or faces with only minor alterations. It can be stretched out a little longer if necessary, just with a little promo padding one week. It can be shrunk somewhat but only at the cost of weakening the build-up to the feud.
If the chosen wrestler has a modicum of charisma and some basic in-ring talent, then this 8-step plan will have the crowd cheering or booing him as desired. It's also flexible enough that you could use the same basic plan in dozens of different ways simply by playing into whatever gimmick the wrestler has in their promos.
So now I've proved my case; I don't want to hear ever again that a wrestler is buried and can't be saved. It can be done in 8 weeks!
8 h( |5 M# y/ T  ^2 [" e: M
    ========================================================================


[ 本帖最后由 138538 于 2007-6-28 20:57 编辑 ]

hin110

嗯``不错的文章``很像现在WWE的剧情`

: W& ^$ d" }( T3 i1 D7 A谢谢翻译`

hhh1126

第一次看这样的文章！！！很不错！！支持了！！！哈哈！

bengan

可怜的Funaki。

小新

谢谢翻译了

注意到了一些 细节问题 呵呵
4 c, l& g6 a$ h. C) r0 X
辛苦了

NAOH

谢谢翻译!

/ P& n2 @. Z3 g; K0 Y我同意文章中的观点,虽然很老套,但这确实是一个百试不爽的方法.
当然我有所置疑.这个方法真的会使一个默默无闻的摔角手成名吗?我觉得这个方法更适合于一个没有合适剧情的一线摔角手展开新的剧情.由于一线摔角手有足够的人气储备,所以他们只要有这么一段情节做开头,就可以把新剧情源源不断地发展下去.
9 J0 [7 A4 B8 z  T而对于那些几乎没有机会出现在节目中的摔角手来说,这么一段剧情最多用来救场.比如前段时间SD有大批的伤病,这种时候才需要无名的摔角手.而且这段剧情一旦结束,如果不给他们同样精彩的后续情节的话,摔迷们会很快地遗忘他们,因为他们实在没有什么值得摔迷记忆的东西.这样的结果就是台上的始终在台上,台下的始终在台下.

‖嘻哈．猫儿

吓一跳 这么长 楼主还真的是有心.
  
    草率的看了一下... 好象确实有某些选手就是如此打造出来的 谢谢翻译

修罗王一平

WWE的内部解析啊~精辟

水中落叶

这确实是一个选手从无闻到成名的简单而又有效的路径，而且很多人确实是这么做的

北冥雷

呵呵 WWE一次又一次忽悠俺们  俺们仍旧乐此不疲
谁让俺们是FANS呢  
谢谢翻译

米豆

原帖由 NAOH 于 2006-10-20 18:06 发表
' B: q6 C+ K0 Q& j谢谢翻译!

2 }  N. l- z0 D1 ~6 O& a/ l2 M我同意文章中的观点,虽然很老套,但这确实是一个百试不爽的方法.
! A% ]- x) U+ K) \! H当然我有所置疑.这个方法真的会使一个默默无闻的摔角手成名吗?我觉得这个方法更适合于一个没有合适剧情的一线摔角手展开新的剧情. ...

4 Z4 U( y, H; a' ?  J4 R

  z- ?0 j; _( y5 ?1 d' v同样先感谢辛苦的翻译。在SD的选手少些的情况下，我们在上周的SD上面，可以看到franki跟The Worm组成的临时双打。如果他们不出场，我们似乎都已经忘记在SD的轻量级中还有这些选手的存在。让我们回到wwe.com上面。看到SD的选手有不少(不管是新人还是旧人，不管他在WWE呆了多少年)，但是经常在电视上面出现的人也就哪么几个人，所以台下的要想上台，似乎真的是很难的。不仅仅是他有没有技术，更重要的是他能否竖造好自己的这个角色。

A.J

很不错的文章``
几乎把WWE的剧情都看穿了``
呵呵``顶你了``

永不低头

是不是  胜负先安排好的？我相信剧情是虚构的`但不相信比赛的时候故意让对手 再说很多一线摔角手加入WWE的时候就很有势力```他们初次出现WWE擂台上的时候观众就喜欢他们的```我觉得这片文章50%有道理

ItwasJJsmile

这个流程。。