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. In May 2026, my article, "An Education on The Enlightened: WOW's Psychological Supergroup," was endorsed on social media by the group's founder, Samantha Smart, which was followed by an exclusive Q&A with her, which she shared on social media. 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. In November 2025 and December 2025, WOW's official website saw a 122% increase in monthly visits, as my analyses initiated search traffic that the official domain then converted into brand engagement.

My article, "How World Woman Pro-Wrestling Diana Is Succeeding Globally" was endorsed by World Woman Pro-Wrestling Diana President Taishi Fuwa.

Many of my articles have been cited as sources in online encyclopedias Wikipedia, Grokipedia, and Hubbry entries on topics including Women of Wrestling, the Global Wrestling Federation (GWF), Michinoku Pro Wrestling, Kyushu Pro-Wrestling, MLW, 3PW, Japan's MMA business, WWE house shows from a business perspective, Right to Censor, the York Foundation, the history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of wrestling in South Carolina, Alex Shelley, Mad Man Pondo, 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.

My work is used as a resource on learning platforms. My ebook "The Business Side of Wrestling: A Look Behind the Curtain" is available for lending internationally, across two major library systems: CLEVNET Library in Ohio and Dubai Public Library in the Middle East. My article, "The History of American Wrestling," has been used in Google Classroom by an educator.

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 platform averages over 100,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Bing, ChatGPT, Yahoo, and Yandex, as well as significant engagement from networks like Facebook, LinkedIn, X, Threads, and Reddit.

My rate typically falls within the range of $500 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 am working 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.

The $500 Launch Phase: Why Your Promotion Isn’t Growing (And How to Fix It)

In the professional wrestling industry, there is a massive gap between a high-quality in-ring product and a global digital footprint. Many promoters want to take things slow, but in a digital-first economy, slow often leads to being invisible.

When I work as a Strategic Communications Consultant, I don’t only offer marketing. I offer a 30-Day Launch Phase designed to turn local promotions into international destinations. Here is the blueprint I use to bridge that gap.

1. Stop Being Local and Start Being Global
If your digital reach is limited to your local zip code, you’re leaving money on the table. My background in the US (working with promotions like WOW - Women Of Wrestling) and Japan (like being the International Officer of Michinoku Pro and a social media writer & blogger for Yanagase Pro Wrestling) have shown me that fans internationally are hungry for new content- they just need a reason to care about that content.

- The Strategy: Position your brand as a premier destination by framing it through a business lens. If a promotion features international stars, their reputations should be leveraged to ensure the promotion's digital reach matches the talents' in-ring reputations.

2. Leverage Search Authority Over Social Media
Social media is rented land. Search authority is real estate. Most promotions have YouTube channels with solid foundations, but they aren't converting that into ticket sales.

- The Strategy: Use a high-ranking global platform to create strategic event previews. By funneling active search traffic from fans looking for a specific style of wrestling product directly to your ticket pages, you create a measurable ROI.

3. The Power of the Narrative
For unique promotions, growth is about more than the matches; it's about the presentation.

- The Strategy: If it's a medium-size or larger promotion, frame it as an evolving entertainment property. If it's a charity organization, highlight its charitable impact so that it becomes eligible for community-focused media coverage that traditional promotions can't access.

4. Making Small Look Large
By creating high-impact brand analysis, a promotion can be made to appear bigger than it actually is. This can take it from a venue that seats 50 fans to one that seats 600.

- The Strategy: It’s about search authority. If your promotion looks like an international property online, the fans (and sponsors) will treat it like one.

The Bottom Line
If you're driven by a desire for growth, you need a digital strategy. My Launch Phase covers content optimization, search authority, and media syndication for a flat fee, ensuring the work pays for itself through increased visibility and sales. Reach out at info@harold-williams.com

How FOX’s $22B Roku Buy Could Change the Game for Independent Wrestling

Fox Corporation has announced that it is buying Roku, the market leader in streaming video distribution, in a massive $22 billion deal. Combined with FOX's Tubi, a free ad-supported streaming television (FAST) channel, the newly formed giant instantly commands the third-largest share of U.S. television viewing, reaching over 100 million households. Inside the professional wrestling industry, promoters and executives -including beyond the large-scale entertainment properties- are looking at this situation closely. In 2023, I analyzed how independent promotions using streaming services could impact major promotions. Today, with FOX’s newly announced agreement to acquire Roku, the analysis becomes even more valid. Beyond WWE and AEW, the full impact of the FOX-Roku merger could reshape the financial and distribution models for independent wrestling promotions.

The Direct-to-Consumer Infrastructure

For decades, the biggest hurdle for independent promotions in the U.S. and international promotions looking to branch out to the U.S. market has been the high cost of traditional television clearance. Buying airtime severely limits a brand's growth, and a promoter accepting a small-scale network TV deal in order for their promotion to be seen nationally usually results in being placed in a time slot that is not optimal for generating advertising revenue. In addition, although the immediate revenue generated from traditional television carriage deal ad-breaks is typically much higher, consumption habits are changing. Roku devices power more than half of all internet-enabled smart TVs in the U.S., and according to Nielsen, Americans now spend more total time streaming on Roku-powered devices than watching cable television as a whole- 21.2% of all TV viewing takes place on the Roku platform, while while cable accounts for 20.2%. And The Roku Channel's audience is trending up 45% year-over-year.

FOX has spent nearly a decade pivoting its entire business model away from expensive scripted entertainment to intensify on live sports and news. Historically, hosting live sports required clearing prime-time blocks.

By taking full control of Roku's interface, FOX now owns a huge, direct-to-consumer infrastructure. They have basically built a digital arena with 100 million seats. If FOX decides to re-enter the live wrestling space, they no longer need to change their network television lineup. Instead, they can acquire the live broadcast rights to upper-level independent promotions or international tape libraries and stream them directly to a free, national audience. For companies looking to have a constant notable presence in America, FOX just became a premier destination.

Standardizing Global Distribution via FAST Infrastructure

The broader wrestling ecosystem relies heavily on free, ad-supported streaming television to survive and grow. Promotions outside the major promotions utilize apps to build international fanbases, fueling their diversified revenue streams.

However, smaller promotions often struggle with discovery, buried deep inside crowded app stores. The FOX-Roku deal changes this paradigm.

Because FOX plans to maintain Roku as an "open, partner-friendly platform," the merger creates a unified, highly optimized distribution pipeline with revenue-sharing infrastructure. The FAST model relies entirely on a zero upfront, advertising-revenue split. Typically, a platform like Roku or Tubi will retain roughly 40% to 50% of the commercial ad inventory to monetize its hosting tech, leaving the independent promotion with the remaining 50% to 60% of the ad slots to sell directly or fill via automated programmatic ads. This means entry into the ecosystem requires zero capital layout from the promoter- the channel only makes money when the content draws eyes.

An upper-level or international promotion natively hosted within this ecosystem would not simply be an app option; it would become part of a premium, curated free streaming powerhouse. This level of visibility would give smaller brands the kind of algorithmic placement and audience reach that used to cost millions in marketing dollars.

A New Potential Gateway for Japanese Wrestling Promotions

As I noted in my recent blog post about how Japanese wrestling promotions operate differently from American promotions, Japanese promotions use streaming and digital pay-per-views as a way to monetize their live events directly, and as streaming becomes increasingly dominant, with the number of video streamer users worldwide expected to increase to 4.6 billion by 2027, these Japanese promotions are bypassing traditional broadcast barriers entirely while still having direct accessibility that gives them an opportunity to continuously grow a global fanbase. However, this has been a difficult task due to the complexity of the Western streaming landscape.

To watch international content, a U.S. fan often has to search for an app, contend with language barriers on user interfaces, and overcome a lack of exposure- the English market is still very untapped. For example, many independent promotions in Japan do not provide information in English, which prevents them from connecting with the English markets inside and outside of Japan and hurts their visibility and streaming consumption growth. The popularity of independent wrestling has been growing in recent years, which has created a larger audience for these promotions- the English market is a part of that audience.

The FOX-Roku merger has the potential to get around these issues.

By operating a unified ecosystem that reaches over 100 million households, FOX could provide these international brands with a solution for Western distribution. Instead of fans having to seek out a platform, a Japanese promotion could leverage the open, partner-friendly nature of the combined Roku and Tubi infrastructure.

If FOX brings in people with knowledge of the Japanese pro-wrestling scene who can connect them with independent promotions in Japan that have the potential to become more popular and anchors them to a a dedicated, free, 24/7 linear FAST channel directly on the native Roku home screen, and utilizes a dedicated communications strategy, this infrastructure would offer distinct structural advantages for global expansion:

- Lowering the Barrier to Entry: Western viewers could discover international wrestling with a single click on their smart TV remote- no credit card or secondary subscription required.

- Algorithmic Discovery: Native placement would allow international content to be served directly to millions of pro-wrestling fans via Roku's newly personalized "Top Picks" and recommendation engines.

- Supporting Live Event Gate Revenues: To an extent, Japanese promotions are interested in being a constant notable presence in America. By using a free digital footprint the size of Roku's to build domestic brand awareness, international promotions would have a much better chance of overcoming the biggest challenges of touring: selling out physical venues and merchandise tables when they run live events in America.

In the post-merger environment, the FOX-Roku pipeline could offer international promotions the launchpad of a seamless, ad-supported gateway to give international exposure to a promotion that is flying under the radar, despite offering a unique and exciting alternative.

Advertising Data Advantage

Wrestling doesn't always attract the top advertisers, and independent promotions frequently struggle to secure sponsorships, having difficulty finding potential sponsors and negotiating with them. This is another area where Roku's value can come into play. With FOX's purchase of Roku, the company will buy an elite repository of first-party consumer data. Roku tracks exactly who is watching, how long they stay engaged, and what actions they take.

When this analytical engine integrates with FOX's big advertising sales infrastructure, it could completely change the monetization model for upper-level wrestling content. A promotion could show undeniable, specific digital data proving the exact value of their audience. Bridging this data gap would allow smaller promotions to command higher ad rates and land bigger sponsors that previously may have been unattainable.

A New Media Horizon?

The FOX-Roku acquisition will represent a major shift in media. By uniting the enduring power of live-focused entertainment branding with the country’s dominant connected-TV gateway, FOX has created what could become a new blueprint for sports entertainment distribution.

For the wrestling industry, this represents a major change in national distribution and advertising monetization, along with the possibility of the rules of professional wrestling media rights being rewritten.

Why Wrestling Territories Still Matter Today

When most people hear "pro-wrestling", they immediately think of large-scale entertainment properties. However, while those companies continue to thrive, the industry is also experiencing a growing, digitally driven alternative, as territory systems are proving that they still have their place in the wrestling world.

The Foundation: A History of Collaboration

In 1948, the NWA was formed, acting in the role of a governing body for regional wrestling promotions. Its model was that territories controlled specific geographic areas, with each state having key markets. The NWA provided a platform for independent promotions to connect and grow under a unified banner, while still maintaining their local identities and styles.

Today, the NWA, as well as the UWN and the AIWF have carved a unique and increasingly prominent space for themselves in the wrestling industry as individual sanctioning bodies that operate under territory systems, where multiple independent wrestling promotions come together under one body. An advantage of this model is that it has a network that allows for:

- Talent Exchange: Providing new faces and fresh matchups as the wrestlers move seamlessly between promotions under the same banner.

- Shared Resources: Pooling production, marketing, and operations.

- Broader Reach for Fans Seeking Diverse Wrestling Content: Creating an interconnected audience.

This positions territory systems as important connectors within the independent scene, encouraging collaboration rather than isolation and direct competition with their affiliates.

Connecting with a Passionate Fanbase

A territory system's strength lies in its connection to a passionate core audience that actively seeks out independent wrestling; fans are always eager to discover promotions and hidden gems that they were previously unfamiliar with. Territory systems can showcase various promotions and introduce fans to talent they are not familiar with, as well as feature recognizable names.

A New Form of Talent Development

In the early days of wrestling territories, they served as a place for wrestlers to hone their craft and then use it as a stepping stone. Now, wrestling territories have a reputation for being a breeding ground for talent, which adds to their credibility within the industry. However, as wrestling territories continue to expand nationally and strengthen their digital footprints, their position in the wrestling world becomes increasingly remarkable, to the extent that they become a showcase for independent talent, who, instead of moving on to larger promotions and potentially becoming lost in the shuffle, remain in the territory system and help it continue to grow, building long-term equity in the brand as their careers continue to grow along with it.

An Alternative

The NWA, the UWN, and the AIWF all have television shows that can be seen nationally (NWA Powerrr, UWN Championship Wrestling/Gotham Wrestling, AIWF Across The Globe), and they have the potential to become major forces in the wrestling industry, providing an alternative for fans as well as talent. They will fully achieve this if they continue to grow, are able to attract, retain, and properly utilize top independent talent, give the fans what they want and deserve, and effectively leverage their global reach and digital presence. Territory systems occupy a vital space within the independent scene and have the opportunity to prove that sanctioning bodies and independent wrestling can thrive and offer alternative paths for wrestlers beyond the traditional way.

Wrestler Spotlight: Amity LaVey - Mother of The Dark

With the independent pro-wrestling scene being full of talented individuals, having a memorable character is as important as in-ring prowess. A wrestler who fits that description perfectly is Amity LaVey, who has a persona that demands attention the moment she enters a venue.

Also known as “The Doctor's Favorite Patient” and "Mother of The Dark", Amity LaVey is carving out a reputation as one of the most aggressive and compelling forces on the independent wrestling scene.

Amity LaVey's character is an excellent example of classic storytelling. With horror-themed makeup, a wicked right eye, and menacing facial expressions and mannerisms, she thrives on psychological manipulation. LaVey is cunning, heelish, and opportunistic, as she masterfully uses mind games to intimidate her opponents.

And behind Amity LaVey's dark persona is a skilled athlete. With a background in gymnastics and amateur wrestling, she had a foundation for in-ring capability when she trained at New York Wrestling Connection. When LaVey steps into the ring for a match, the atmosphere shifts as she combines her character's dark charisma with her wrestling talent, whether it's in an independent promotion like New York Wrestling Connection (where she has wrestled in a WWE-promoted ID Showcase match) or on national television in UWN Gotham Wrestling.



Beyond her character and her work in the ring, another aspect of Amity LaVey that makes her stand out is her philosophy on the industry. LaVey has been vocal about how she feels that it's important that people take the time to watch women’s wrestling instead of feeling that it's something to leave your seat during- and she's right. A women's wrestling match is capable of being in the main event of a show, and the match fans are talking about the next day. And talented women wrestlers like Amity LaVey are proof of that.

Amity LaVey is one of the best pro-wrestlers on the US independent scene: A total package who cares about the state of the industry. As she continues to expand her visibility on the East Coast and beyond, "Mother" is showing everyone who rules the dark.

Wrestler Spotlight: Himiko - An Inspirational Joshi

In the world of joshi puroresu, the usual path is to train and debut in your teens or early twenties. However, Himiko made her World Woman Pro-Wrestling Diana debut in January 2022 at almost 50 years old, proving that age is just a number and it's never too late to pursue a goal.

Himiko's first match was on January 23, 2022 at Shinkiba 1stRING, and her first opponent was a true test, as she went against Jaguar Yokota, a former WWWA Champion and a legend of the ring. Even though Himiko was defeated, she left a lasting impression as she endured 10 minutes and 30 seconds against a veteran with over four decades of experience.

Since her debut match, Himiko has established herself as a regular opponent and mentor for newer talent, and frequently wrestles rookies in Diana. For example, Himiko was NENE's second opponent, and then they had a rematch about seven months later. Both matches were valuable learning experiences for NENE.





Himiko has been able to excel quickly as a joshi due to the environment that Diana provides. She has had the opportunity to wrestle and learn from experienced veterans, such as legends/former WWWA Champions Jaguar Yokota and Kyoko Inoue, former W.W.W.D Singles Champion Ayako Sato, and the versatile Deborah K. These experiences have caused Himiko's value as a competitor to extend beyond Diana, as she has also wrestled in other promotions, including Ice Ribbon, ZERO1, PURE-J, and STARDOM, where Himiko wrestled Akira Kurogane at a STARDOM NEW BLOOD event.


Having a wrestler like Himiko on a NEW BLOOD show enables STARDOM's youngest wrestlers to test themselves in a match with a talent who was trained and regularly wrestles in Diana's unique environment.

Himiko is an inspiration in World Woman Pro-Wrestling Diana and in life, as she confirms that time only works against your goals if you don't take action, and that taking action puts you in control of your own timeline.

WOW’s World: A Unique Form of Engagement

While the pro-wrestling industry is looking at the metaverse and VR/AR's potential to revolutionize wrestling's social media experience, a different path is being carved out by WOW - Women Of Wrestling. Led by co-owners Jeanie Buss and David McLane, instead of WOW exploring the idea of having a 3D virtual world community, the company has created a Superhero world- an integrated ecosystem that combines family-friendly comic book-style characters, social media, and the power of a standalone all-female product.

Rather than WOW being represented by only corporate social media accounts, the Superheroes of WOW have their own individual profiles, where their larger-than-life characters can be spotlighted. WOW fans don't have to wait until the weekend to see their favorite Superheroes; they can interact with them and their personalities throughout the week on X, and in the chat area of Official WOW Podcast With Nigel Zane. In addition, WOW's official website is at the center of the world of WOW, featuring biographies and backstories for the individual Superheroes.

The world of WOW that exists online extends to the physical world and Comic-Con culture, dating back eight years. In 2018, LA Comic Con featured Fire vs. Jessicka Havok, and Faith The Lioness vs. The Beast. This was the first time in history that there were ever pro-wrestling matches at LA Comic Con.

The Beast and The Lioness wrestled each other again at LA Comic Con 2019, and in 2022, WOW returned to LA Comic Con, making history as it hosted The WOW Championship Spectacular, with a card that included a WOW Tag Team Championship match and a gauntlet to crown a new WOW World Champion.


In 2023, WOW Superheroes attended Comic-Con International: San Diego 2023 for an exclusive meet and greet and returned to San Diego Comic-Con in 2024 for an autograph signing and to present a special panel, “WOW – Women Of Wrestling – Bringing WOW Superheroes To Life,” to discuss the importance of the rise of female representation in professional sports. Continuing to be a notable aspect of Comic-Cons, WOW once again presented a special panel at San Diego Comic-Con in 2025: "WOW - Women Of Wrestling on Female Representation in Sports and Discovering New Talent.” WOW’s presence at Comic-Cons is a cornerstone of its fan engagement. These panels are the physical headquarters of their digital world, enabling fans who have engaged with the Superheroes online to meet them in a place that celebrates the intersection of wrestling and comics.

For WOW, the "metaverse" is not a place you visit; it's a world that you participate in. By focusing on accessibility, family-friendly comic book-style characters, and the power of a standalone all-female product, the company has built a digital home that prioritizes human connection over technology. In the world of WOW, the fan isn't only a spectator- they are a witness to a comic book brought to life.