More About Me

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Since the "About Me" section of this blog is limited to a specific number of characters, I decided to write a post that discusses more about what I have done in the pro-wrestling industry, beginning with when I first started in it and leading up to now.

Technically, I started back in the 1990s, contributing to "Pro Wrestling Illustrated" and then "Pro Wrestling Torch". In 1997, I contributed to The Official Website of the NWO. That same year, I briefly published my own newsletter, "The Wrestling Express".

In 1998, I taught myself how to design websites and served as a consultant for various independent promotions. That next year, I worked as a website designer/maintainer for Dylan Summers (Necro Butcher), who was running the Texas-based Power Pro Wrestling Federation, and later was involved with Texas Outlaw Promotions.

During the period of 2000-2002, I was involved in many different projects at once. I was working as a website designer/publicist for talent, contributing to WCW.com, writing columns for independent promotions and the website of former WCW star The Stro, and writing for a variety of pro-wrestling media sites (including WrestlingObserver.com and PWTorch.com). In 2003, I began running my own website, World Wrestling Optimum, which consisted of news, articles, and interviews.

From 2001 to 2013, I worked as a Sports Desk Assistant for Southern Westchester BOCES Athletics, responsible for inputting schedules and assigning officials for all public high school athletic events in the greater New York metropolitan area. This gave me an opportunity to hone my skills in organization and logistics. I also acted as in-house technical support.

In 2004, I started working for the Michigan-based Ultimate Championship Wrestling as a publicist/columnist. They were an affiliate of American Wrestling Association Superstars Of Wrestling, and I soon became the publicist/columnist of the main governing body of AWA as well. During my time working for UCW, I played a major role in bringing in new talent, due to my having come into contact with many talents being underused and going unnoticed in the industry over the years. Also, attendance increased by a significant amount.

In 2005, I started doing a column for 3PW. With DVDs sold nationwide, they had the potential to become much bigger than they already were at the time, and they were very open to my ideas. I pushed for many changes behind the scenes. I had encouraged management to improve the production quality of their DVDs, which led to them dealing with a different production company. 3PW management had planned on waiting for its fan base to increase before getting TV for 3PW. I explained how getting TV for 3PW is what would increase its fan base, and I was then given the green light to find networks that were interested. Two networks were very interested, and I encouraged 3PW management to meet with them as soon as possible. Unfortunately, the owner of the company instead opted to shut 3PW down, due to losing interest. Working for 3PW put me in connection with the UK-based 1PW, where I worked as a columnist.

After 3PW shut down, I began working as a publicist for independent promotions, including CHIKARA. I also worked as a columnist for CZW. Interestingly, though, it was 2006 at this point, yet I was still most recognized for the work that I had done for 3PW and AWA/UCW.

In 2007, I started working as a columnist for XCW, a promotion that was seen nationally on MAVTV, had a national DVD deal, and also had PPV events. Working for a promotion of national status was my biggest achievement at that point, and two years later, I reached a bigger achievement- Big Japan Pro-Wrestling. Along with working for them as a columnist and an Administrator for their Facebook page, I helped bring Big Japan Pro-Wrestling together with Combat Zone Wrestling to form a working relationship after a previous working relationship between the two promotions had fallen apart. This new working relationship led to Big Japan Pro-Wrestling having its first event in the United States.

In October 2009, I assisted publicity & promotions company MGM Management with the HULKAMANIA- Let the Battle Begin tour by distributing their press release to pro-wrestling news sites that are popular with Australian fans, and conducting an interview with Solofa Fatu Jr. (better known as, "Rikishi"). Also, in 2012, I wrote a number of columns for Women Superstars United, which was known as Women Superstars Uncensored at the time.

In May 2018 I did social media for Great North Wrestling.

In April and May 2021, I did blogging and social media for Kyushu Pro Wrestling. During that time, the promotion gained 220 new subscribers and 52,746 new views on its official YouTube channel.

Recently, I have done blogging and social media for Yanagase Pro Wrestling. Since the time I began writing for them, Yanagase Pro Wrestling has their anniversary events at a venue where they have had 300 fans. All previous Yanagase Pro Wrestling events took place at a 50-seat venue.

I have also recently written for the China-based Middle Kingdom Wrestling in a Publicist capacity. My work is an essential piece in the multilingual activation, with it being adapted to traditional Chinese for readers in China. I am the first native English writer to have written for a Chinese wrestling organization in history.

In 2019, I began writing for Michinoku Pro Wrestling, in charge of international wrestling as its International Officer. Since the time that I began writing for them, Michinoku Pro stopped choosing Shin-Kiba 1st Ring for its Tokyo events and began focusing on the much larger Korakuen Hall for its Tokyo appearances. The Korakuen Hall is known as a place where many historical moments in the Japanese pro-wrestling scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. Michinoku Pro had a sellout, standing-room-only event on December 13, 2019 at the Korakuen Hall. The event had an attendance of 1,890. That was the highest reported attendance at the Korakuen Hall to date for a pro-wrestling event since April 2015.

In addition, I have blogged for the Allied Independent Wrestling Federations.

My articles, "A Look at the History and Future of WOW" and "Will WOW Go From Las Vegas Residency to an Even Higher Level?" were endorsed by WOW - Women Of Wrestling on social media in August 2025 and October 2025, respectively. My articles, "Why Florida Makes a Perfect WOW Superhero Stronghold", "Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW", "WOW Hits the Jackpot: Women Of Wrestling Secures Season 4 & Groundbreaking Las Vegas Residency", A History of Women's Wrestling in America", "The 11 Most Must-See WOW Matches Right Now", "A Potential Game-Changer for Sophie Cunningham: The WOW Opportunity", "Independent Gaijin Dreams and the Japanese Experience of WOW's Superheroes" and, "A History of Wrestling Managers" were endorsed by WOW as well.

Many of my articles have been cited as sources in online encyclopedias Wikipedia and Grokipedia entries on topics including Women of Wrestling, Michinoku Pro Wrestling, MLW, Japan's MMA business, the impact of Japanese wrestling on the global wrestling scene, the history of pro-wrestling in Osaka, the future of women's wrestling in America, Alex Shelley, Angel Orsini, the early history of WWE video games, WWE Raw on Netflix, Strong Style Pro Wrestling, and more. Additionally, my 2013 interviews with the original cast of GLOW (Gorgeous Ladies of Wrestling) served as a primary historical resource for The Telegraph in their coverage of the true stories behind the hit Netflix series.

In July 2025, I developed the core corporate communications and original strategic press release for the founding team of youth sports platform True Lacrosse announcing their strategic partnership with the incoming Private Equity partner, TZP Group, launching the new national platform, True Sports. The final deliverables were used as the basis and foundation for the final, official, public-facing, published corporate release and announcement. The document passed final approval by the founders and TZP Group.

After living in Japan for ten years and writing English content for Asian companies during that time, I am currently based in the US and open to new writing opportunities in the US, Japan, and globally, from event previews & results reports, to press releases, to wrestler spotlights & social media. I offer sponsored content and an international audience. Check out my samples and see how I can take your brand to the next level:
https://harold-williams.com/2012/05/samples-of-my-work.html


My rate typically falls within the range of $350 to $800. info@harold-williams.com

I graduated from university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well.

I am also a Technology Writer specializing in AI, VR, AR, NFTs, 5G, Web3, streaming, and the metaverse in the context of wrestling. My insights on this frontier have been recognized by wrestling-related outlets; including, Fightful cited my deep dive into specific applications of AI in wrestling as a key resource in an article.

I am a subject matter expert in the business side of Japan's MMA, baseball, soccer/football, lacrosse, and other sports.

In additon, I have worked for TELUS Digital as an Online Data Analyst, developing and improving AI models by contributing data, assessments, and insights via writing and data collection/annotation/labeling.

Kayfabe 2.0: Social Media's Role in Modern Wrestling Storytelling

Social media has revolutionized the way wrestling stories are told and character arcs are developed. Gone are the days of relying solely on televised segments and in-ring promos. Now, wrestlers and promotions leverage the power of social media to blur the lines between reality and performance, creating immersive and engaging narratives that extend beyond the traditional wrestling broadcast. Kayfabe 1.0 was about not pulling back the curtain. Kayfabe 2.0 is about pulling back the curtain and utilizing it as a tool.

Social media allows storylines to continue even when wrestlers aren't on television. Feuds can have a slow burn online, alliances can be forged, and betrayals can unfold through posts and videos. In addition, teasers and cryptic messages can be used to build anticipation for upcoming angles and matches, as well as provide additional context and backstory for storylines, enriching the viewing experience.

Wrestlers can use social media to showcase their personalities and connect with fans on a more personal level. If their character is either an underdog, like the average person, is based on real-life experiences, or displays emotional vulnerability, this can help bring that character across. In other words, social media allows wrestlers to maintain kayfabe even when they're not in the ring. They can use social media to portray their characters' beliefs, feuds, and motivations. In addition, social media allows for a more organic and dynamic character evolution. Wrestlers can adapt their characters based on fan feedback and online interactions. And, if the wrestler chooses to, they use social media to show a different side, with a heel showing a friendly side or a face showing an aggressive side.

Polls, Q&A sessions, and social media challenges allow fans to participate in the storytelling process. Plus, online forums and communities allow fans to discuss storylines and share their theories with other fans. And most importantly for a promotion, social media can be used to generate buzz and excitement for upcoming events- I have a proven track record of writing detailed, compelling content that elevates a pro-wrestling promotion's brand, builds a stronger fanbase, and helps a product prove its value to a larger audience. Although I am currently US-based, I have global experience, having lived in Japan for a decade. There, my digital content has helped drive a notable increase in YouTube views and event attendance. My experience includes writing various content types, such as event previews, results reports, and press releases, and I have a proven ability to provide news analysis and in-depth coverage of both the American and Japanese wrestling scenes. You can reach out to me via info@harold-williams.com, and you can see samples of my work here:

https://www.clippings.me/haroldwilliams

https://www.clippings.me/haroldwilliams2

https://www.clippings.me/haroldwilliams3

https://www.harold-williams.com/2012/05/samples-of-my-work.html



Social media can be used to create mystery (an appealing angle in itself) and blur the lines between a work and a shoot. This can add a layer of intrigue and realism to storylines. Plus, social media allows for real-time storytelling, where events unfold as they happen, creating a sense of excitement and urgency. In addition, social media can bring the fans into the action and make them feel as if they are a part of the show. And by creating digital cliffhangers on social media, promotions can drive a measurable increase in livestream viewership and ticket sales, as fans feel they must see the resolution of a feud that started in their feed.

If a wrestler is always in kayfabe online, there are both benefits and challenges. On one hand, it enhances their persona and ensures brand consistency, while on the other hand, it limits the connection between the fans and the performer behind the persona, and also could cause the wrestler to miss out on opportunities for mainstream media appearances or non-wrestling-related collaborations that they would get by being themselves. A solution would be using different social media platforms for different purposes- for their persona and another where they are out of character:

- X: The "War Zone" - Perfect for aggressive promos and worked shoots to build immediate heat.

- Facebook: The "Real Me" - Where the wrestler can be out of character, since Facebook is primarily for staying connected with friends and family.

- Instagram: The "Lifestyle" - Blending the character with a high-production look for highly organized, visual storytelling that can make them look like a star.

- TikTok: The "Behind the Scenes" - Where the performer can experiment and express themselves through humor and training montages.

- Threads: The "Direct Engagement" - Building a community through text-based discussions and interactions in real-time.

It's also worth noting that social media can amplify controversies and create negative publicity. Wrestlers and promotions must be prepared to handle online backlash. However, it doesn't have to be done alone, as AI is now fighting online harassment of wrestlers.

Maintaining a consistent online presence and storyline continuity can be challenging. Social media has become an indispensable tool for wrestling storytelling. By leveraging its power, wrestlers and promotions can create immersive and engaging narratives that resonate with fans and extend the reach of their brand.

Why Florida Makes a Perfect WOW Superhero Stronghold

Traditionally, pro-wrestling companies have seen value in going on the road- it enables their brand to grow faster, drawing potential new fans who would check out this promotion that has come to their town, the promotion that they may have heard some of their friends talking about. But as we enter 2026, touring properties face more hurdles- rising fuel costs and logistical inflation. Along with that, the physically demanding travel and performance schedule of a full-time circuit can lead to physical and mental burnout. Alternatively, WOW - Women Of Wrestling is quietly rewriting the wrestling branding blueprint.

WOW had its first national tryouts outside of Los Angeles in August 2025 while company executives were in Tampa, Florida, and in December 2025, WOW once again sought future Superheroes in the Sunshine State, a cornerstone in the history of professional wrestling, rich with legacy and homegrown talent. It was also a prominent example of how wrestling territories operated- acting in the role of a governing body, the NWA's model was that territories controlled specific geographic areas, with each state having key markets. Tampa, Orlando, and Miami were the key markets of NWA affiliate Championship Wrestling From Florida (CWF). One of its championships was the NWA Florida Women's Championship, which was held by legends including Mae Young, June Byers, Betty Jo Hawkins, and Ella Waldek. By recruiting in the former home of the CWF, WOW aligns its Superheroes with the prestige of the legends who held that championship, bridging the gap between pioneering legends and modern sports entertainment.

WOW recruits athletes from a variety of athletic backgrounds, homegrown talent that it could train from the ground up, including cheer, dance, gymnastics, martial arts, CrossFit- and stunt performers. WOW's expansion to Florida puts the talent search in proximity to the world’s largest and best pool of theme park stunt performers in the US. In addition, the Florida independent pro-wrestling scene has a high concentration of talent with the ability to perform for a national television audience on a platform that has a large production scale and pays a very competitive local rate that beats what most independent wrestlers make on the road after expenses.

The Florida market is already well-represented within WOW. Several current Superheroes call the state home, including former WOW World Champion Santana Garrett, judo / jiu-jitsu black belt Gabriella Cruz, former WOW World Champion Penelope Pink, new Superhero Catalina Speed, multi-time WOW World Tag Team Champions Miami’s Sweet Heat Lindsey and Laurie Carlson, and heavy metal sister Fury. This connection establishes a bond between WOW and the local community.

While the Florida market holds deep roots in the industry, WOW is approaching its expansion there with a long-term vision. David McLane, who lived in Miami’s Coral Gables and Coconut Grove for 14 years, notes that the state has a "built-in fan base that is possibly not matched in terms of a statewide appeal." Because of the extensive organization required to establish a permanent presence, the Florida expansion is slated for 2027. In the meantime, WOW's 2026 focus will remain on its West Coast foundations in Las Vegas and a potential new venue in Los Angeles, currently under negotiation. Also, Los Angeles remains a permanent home for co-owners Jeanie Buss and David McLane, where their long-standing business roots and partnership with Paramount SkyDance provide a stable base for the brand.

For 25 years, WOW has been a West Coast-based brand. But as we look to the future landscape, the expansion to Florida represents a transition to a company with a broader physical footprint and East Coast presence, leveraging the established wrestling market in Florida for new talent and audience reach, moving beyond its traditional base to become a more distributed national entity. However, knowing WOW isn't abandoning the bright lights of the West- the company's "Fights At Fremont Street Experience" residency in Las Vegas, combined with its expansion to Florida, is a multi-hub strategy.

Instead of spending money on touring, WOW seemingly is positioning itself in three of the most production-friendly, high-traffic tourist destinations in America, giving shows mainstream visibility and exposing WOW to millions of potential new fans who might not typically seek out wrestling content. This organic exposure in major entertainment hubs is valuable for brand building and engagement. In addition, this model is both high-impact in terms of visibility and low-travel for talent, while also simultaneously reaching 100% of US markets through syndication and keeping overhead anchored to three locations, insulating itself against the unpredictability of the travel and of the touring industry.

This multi-hub strategy will also provide WOW with a valuable edge against environmental and logistical elements. While the Las Vegas “Fights At Fremont Street Experience” offers a high-spectacle, outdoor atmosphere that captures the energy of Las Vegas tourists, a Florida residency provides a studio-style environment. By balancing the bright, open-air environment of Nevada with the specialized production infrastructure of the Tampa-Orlando or Miami area, WOW creates a year-round content cycle. This indoor-outdoor model will ensure that the company can produce high-quality television regardless of seasonal weather shifts, further insulating WOW from the volatility that typically plagues promotions on a standard city-by-city tour.

With WOW’s Los Angeles and Florida markets having a deep talent pool, Las Vegas providing amazing backgrounds during matches, and the marketing support of the casinos, WOW, just as it changed the status quo for women's professional wrestling, is changing the status quo of brand building. If this model succeeds, we could see the company again be ahead of the curve, with the rest of the industry looking at their jet fuel bills and wondering whether frequently going on the road is still the best way to travel.

Beyond the Physical Arena: Virtual Events and Experiences in the Wrestling Metaverse

The wrestling world thrives on spectacle, and the metaverse offers a new stage for creating immersive and interactive events that transcend the limitations of physical venues. From virtual meet-and-greets to interactive watch parties and even full-fledged virtual wrestling shows, the possibilities for virtual events and experiences are as vast as the digital landscape itself.

In 2020, WWE began having Virtual Meet & Greets, where members of the WWE Universe could meet their favorite WWE Superstars from the comfort of their own home, with no travel costs or geographical limitations, and only requiring the purchase of a ticket. After the one-on-one private video chat, the conversation and video could be downloaded via a link.

In January 2025, WWE announced a multi-year partnership with global technology company Cosm to begin bringing WWE Premium Live Events to fans in Shared Reality at Cosm's experiential venues. This meant fans at Cosm locations could feel like they're ringside at major events like WrestleMania, SummerSlam, Royal Rumble, and Elimination Chamber, even if the event is taking place thousands of miles away. Cosm's technology utilizes large-scale 87-foot-diameter 12K+ LED domes that surround the audience, creating a sense of being transported to another location.

It offers a new level of immersion, allowing fans to feel more connected to the action and the atmosphere of the event. For fans who can't travel to attend PLEs in person, this offers a unique opportunity to experience the excitement of a live event in a shared setting. This builds on the increasing use of technology to enhance the wrestling viewing experience, as I discussed in my previous posts about the AI-powered wrestling fan experience and how technology is rebooting live wrestling. While those posts focused on different aspects of technology, the Cosm and WWE partnership takes the concept of immersive fan experiences to a whole new level, giving fans access to premium events that they might not otherwise be able to attend. The shared environment creates a sense of community and mutual excitement, the enthusiasm of the crowd, and being in a venue with people who love the entertainment value of professional wrestling as much as they do. Plus, the enhanced viewing angles and immersive visuals can provide a more engaging and dynamic experience than even being at the event in person. In addition, along with revolutionizing how fans experience wrestling and pushing the boundaries of sports entertainment through state-of-the-art technology, it's also a new revenue stream.

There are fans in the tech-wrestling crossover space who have created online virtual wrestling promotions that use a video game engine to simulate professional wrestling matches and storylines. The most popular ones on YouTube are the Virtual Wrestling Network, Xtreme Virtual Pro Wrestling, and Virtual Wrestling United.

Fans can participate in interactive storylines and role-playing scenarios within the wrestling metaverse. This is currently most prevalent in wrestling-themed RPGs like The Wrestling Game and community-led e-feds (electronic federations) like Regents Pro Wrestling and French Virtual Wrestling.

Virtual events and experiences are poised to become a staple of the wrestling metaverse. By embracing these technologies, wrestling promotions (as well as fans) can create new and exciting opportunities for fan engagement, and expand their reach. As the metaverse continues to evolve, we can expect to see even more innovative and immersive virtual experiences emerge, shaping the future of wrestling entertainment.

WOW’s Expansion Strategy: Leveraging Traditional Licensing to Scale the Superheroes Brand

While much of the wrestling world is racing toward a blockchain-driven future, WOW - Women Of Wrestling has carved out a distinct and successful path by focusing on traditional licensing and high-accessibility media. Rather than paywalling exclusive content behind digital keys, the company is focusing on physical engagement and broad accessibility.

This strategy, supported by WOW Co-Owner and Co-Founder Jeanie Buss, treats female athletes not only as wrestlers, but as real-life action Superheroes. Without the technical barriers of the virtual world, WOW's product is available to every fan, from families with young children to old school fans.

A cornerstone of this strategy is the entry into the tabletop gaming market. WOW partnered with Cation Arts to launch WOW - Women Of Wrestling Card Game, a physical collectible experience- an obvious contrast to digital trading cards.

Featuring 180 unique cards, the game allows fans to pick from a roster of WOW Superheroes, such as Gloria Glitter, Penelope Pink, Tormenta, and Kandi Krush. The game focuses on fast, strategic play -designed to be learned in five minutes- bringing the excitement of the purple ring into the living room. By going the physical card game route, the tangible thrill of collecting and the social connection of in-person play are prioritized.

Beyond the tabletop, WOW's media strategy emphasizes availability through its partnership with Paramount Global Content Distribution. This has resulted in WOW airing in national broadcast television syndication, attracting a viewership of over 300,000.

While WOW's core distribution is television syndication, streaming platforms are also a key part of its strategy for reaching a wider audience. Tubi is available in the United States, Canada, Mexico, Australia, New Zealand, and several Latin American countries (Costa Rica, Ecuador, El Salvador, Guatemala, Panama), and Wrestling Central is available in North America. These free, ad-supported services ensure that the current era matches and a deep library of classic WOW episodes are available to anyone with an internet connection, without the need for a crypto-wallet or subscription. This free-to-all model has allowed WOW to expand its footprint into 160 US markets and also reach a massive international audience, solidifying its place as a leader in televised female sports entertainment.

WOW's residency at the iconic Fremont Street Experience in Las Vegas further illustrates this commitment to physical presence. "Fights At Fremont Street Experience" are live events that bring the WOW ring to the heart of the city, offering high-energy spectacles to thousands of tourists and locals alike.

By leveraging these significant public takeovers alongside traditional television syndication, WOW's wide-scale reach and Superheroes-for-all style opens a way to potentially transition to the world of the blockchain-based digital world in the future without alienating their current fanbase and destabilizing their brand identity, via the Phygital (Physical + Data) route, which would involve using digital tools to enhance WOW's physical game rather than replacing it with digital-only system.

For example, instead of abandoning physical cards, WOW could embed QR codes or NFC chips in the physical cards. Scanning the card could unlock a digital version for free, rewarding fans while moving the brand toward the cutting edge of technology.

Engaging the Virtual Crowd: Fan Adoption and Engagement in VR/AR Wrestling

The success of Virtual Reality (VR) and Augmented Reality (AR) in wrestling hinges on one crucial factor: fan adoption and engagement. While the technology offers immense potential for immersive experiences, it's essential to understand how to effectively attract and retain fans in this new digital landscape.

Fans desire authentic and realistic experiences that capture the excitement and drama of live wrestling, so VR/AR content must deliver a high level of visual realism (and immersive gameplay for games) to meet these expectations, giving them the "front row" experience of visuals sharp enough to see the sweat on a wrestler's brow, the heaviness of a chokeslam, and feeling the vibration of the ring, while the fan has the shared experience of feeling like they are in a crowd, even if they are in their living room. Also, fans would enjoy being active participants in the experience- VR/AR content should offer interactive features, such as virtual challenges, social interactions, and personalized content (choosing which camera angle to watch from, or perhaps they can participate in a virtual "pre-show" challenge). It should also be noted that fans are more likely to adopt VR/AR experiences if they perceive them as valuable and accessible. Lastly, Content must be engaging, entertaining, and priced reasonably.

To build a user base, it is vital to promote VR/AR experiences to specific targeted fan segments who are most likely to be interested in the technology, and highlight the unique features and benefits of these experiences to the tech-savvy early adopters in your fanbase who will be seeing the exclusive views they won't get anywhere else. Also, a key strategy would be to offer demonstrations and trials of these VR/AR experiences ("VR Stations") at live events, fan conventions, and online platforms- this would allow fans to experience the technology firsthand and understand its potential while wearing a headset for two minutes and seeing the ring from the “ringside”, “commentary desk”, “top turnbuckle”, and “overhead” perspectives. In addition, it would be a good idea to incorporate gamification elements to help keep them coming back, such as virtual challenges, and rewards/badges/spots on a global leaderboard, to incentivize fan engagement, as well as integrate social media features into VR/AR experiences, allowing fans to share their experiences, connect with friends, and participate in online communities where they can "sit" next to their friends' digital avatars and talk about the match in real-time.

To keep the audience energized, keep VR/AR experiences fresh and engaging by providing regular content updates, such as new matches, storylines, backstage segments, features, and hidden Easter eggs. Along with that, create online communities and forums where fans can discuss VR/AR experiences and connect with other fans. Host live VR/AR events (with a host or a wrestler) and interactive streams that allow those fans to participate in the action in real time in a 360-degree environment. A virtual watch party is an example.

A wrestling writer or publicist can promote VR/AR experiences to their audiences, which can help build awareness and generate excitement. If they have technical knowledge, they will be a bridge between the credibility of your product and emerging technology, promoting high-tech VR/AR features in a way that would interest pro-wrestling fans. I minored in Computer Applications in college, which enables me to be a bridge between the wrestling industry and the technology industry. I can help you promote high-tech features in a way that is appealing to a fan who is mainly interested in seeing a great event.

If you are looking for assistance in launching or promoting a VR/AR experience by someone with extensive global experience in the wrestling industry and who can also explain the value of a 3D environment to the pro-wrestling audience, let's talk. Contact me via info@harold-williams.com

Content Creation and Production for VR/AR Wrestling Experiences

The allure of Virtual Reality (VR) and Augmented Reality (AR) in wrestling lies in their ability to create immersive and engaging experiences. However, bringing these visions to life requires a strong content creation and production pipeline. From capturing the action to the creation of seamless interactive environments to shaping the entire user experience, the process presents a unique set of challenges and opportunities for promotions.

Capturing the Action

VR content often relies on 360-degree video, requiring specialized cameras and filming techniques to capture the entire environment, which presents difficulties in terms of lighting, sound, and camera placement. For immersive experiences, volumetric capture can be used to generate 3D representations of wrestlers and surroundings, which allows for greater interactivity and realism but calls for advanced technology and expertise. Motion capture (mocap) technology can be used to track wrestler movements and translate them into realistic animations for VR settings, adding a layer of authenticity and dynamic action to VR experiences (including VR games and pre-show interactive segments).

Building the Virtual World

Creating realistic virtual environments requires a fusion of architectural detail and game design via skilled 3D modelers and texture artists, who must recreate arenas, locker rooms, and other locations with accurate detail. VR/AR content is often developed using game engines like Unity or Unreal Engine, and these engines provide the tools and capabilities to construct interactive environments, implement real-time physics simulations (ensuring that the digital environment reacts realistically when a wrestler hits the mat in VR), and integrate AR overlays. Designing intuitive and user-friendly interfaces is crucial for VR/AR experiences. UI/UX designers must consider the unique challenges of navigating and interacting in a virtual or augmented environment, creating in-world interfaces (menus that exist within the world, like a hallway door) rather than flat buttons that would break the illusion.

Adding Interactivity

An immersive broadcast must be "alive." To make this happen, the back end of the tech must be fast enough to handle thousands of fans at once. Developers are needed to implement interactive features, such as AR overlays, virtual challenges, and multiplayer functionality, which needs expertise in programming languages like C# or C++ to ensure the data is synced perfectly with the live action. Real-time data integration is essential for AR experiences that display live match stats or social media feeds, requiring expertise in data management and API integration. Detailed testing and optimization are important for ensuring a smooth and enjoyable VR/AR experience, which involves testing on various devices and platforms to identify and resolve performance issues. The experience must be optimized for everything from high-end PCs to mobile thin-client headsets to prevent frame-rate drops that could cause user discomfort.

Crafting the Written Presentation

It must be made certain that the virtual wrestling experience has a human touch even though it's technologically advanced. The writers would invent storylines, character arcs, and dialogue for VR experiences. This would include writing for 360-degree environments where characters might interact directly with the viewer, requiring scripts that account for spatial audio cues.

While the potential of VR and AR in wrestling is exciting, there are significant challenges and considerations. Creating high-quality VR/AR content requires a team of skilled professionals with expertise in 3D modeling, animation, programming, and UI/UX design. Additionally, distributing VR/AR content can be challenging, as it requires specialized platforms and devices. Furthermore, crafting compelling narratives and appealing storylines in VR/AR requires a different approach than traditional media, and there will be pressure to constantly produce likable content. I minored in Computer Applications in college, which enables me to be a bridge between the wrestling industry and the technology industry. Wrestling companies having writers with technical knowledge would help them explore the potential of emerging technologies such as virtual reality or artificial intelligence, and incorporate interactive storylines that would enhance fan engagement.

As VR/AR technology continues to advance, we can expect to see more accessible and user-friendly tools for content creation. AI-powered tools, cloud-based platforms, and standardized development kits will streamline the production process and empower a wider range of creators to bring their visions to life. And while the creative potential is limitless, the technical execution requires a specific infrastructure. I've compiled a full technical requirement list -from API integration to Lidar mapping- for paid subscribers over on my Substack.