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The global mobile gaming industry is facing a new visibility crunch. Artificial intelligence has made it faster and cheaper than ever to build games and generate marketing assets, but that efficiency has come at a cost. With more titles, ads and creative variations flooding the market, competition for player attention has become more intense, fragmented and expensive. According to AppsFlyer’s “State of Gaming for Marketers 2026” report, the sector has moved well beyond its land-grab phase. Total gaming revenue is projected to reach US$205 billion this year, with mobile accounting for more than half of the market. Growth, however, is no longer driven by a surge of new users. Instead, it is increasingly concentrated among a smaller pool of high-value players, forcing studios to rethink how they approach scale, discovery and monetisation. That pressure is playing out most visibly in user acquisition. Global UA spend reached US$25 billion in 2025, yet this investment is chasing an audience that is not expanding at the same pace as content production. Generative AI has lowered barriers to entry across development and marketing, resulting in a surge of creative output across acquisition channels. Top gaming advertisers are now producing between 2,400 and 2,600 creative assets per quarter, up around 30% year on year, as they attempt to counter ad fatigue and sustain performance. Felix Thé, senior vice president product and technology at Unity, described AI-driven modelling as a productivity multiplier, enabling studios to generate and iterate creative at unprecedented speed. As these models mature, he said, the focus is shifting away from volume-driven acquisition. “Precision-based value identification will increasingly replace reliance on large volumes of low-intent traffic,” Thé explained. The outcome, he added, is more relevant ads, better-controlled ad experiences, improved discovery, and higher player satisfaction and retention. Don’t miss: Ready player Alpha: Why gaming is the new brand playground A shift towards APAC efficiency As costs rise in mature markets, marketers are also being forced to rethink where growth comes from. UA budgets in the US declined 5% year on year as higher costs limited incremental scale, prompting greater attention towards emerging APAC markets where efficiency remains higher. India continued to strengthen its position as a high-growth hub, recording a 19% increase in UA spend. Vietnam showed signs of strategic maturation, with a pivot towards social casino titles as hypercasual ad revenue remained under pressure. Social casino revenue rose 17% on Android and 9% on iOS. Across APAC, midcore games emerged as a key growth driver. In Bangladesh, paid installs for midcore titles increased 35% year on year, signalling growing appetite for more complex, higher lifetime value experiences in mobile-first economies. At the same time, competition has intensified further with the continued expansion of China-headquartered publishers. These companies now account for 35% of global gaming UA spend outside China, up 22% year on year. Their impact is particularly pronounced in APAC. Spending remains heavily skewed towards Android, where budgets are nearly double those allocated to iOS, reflecting a focus on scalable, cost-efficient growth. In markets such as Japan and South Korea, long considered difficult to penetrate, Chinese publishers increased their spend share by 25% and 37% respectively. Faster localisation, aggressive creative testing and a strong focus on casual and hypercasual genres have helped them gain ground across both mature and emerging markets. Discovery in an AI-saturated market Beyond budgets and geography, the mechanics of discovery itself are changing. Emmanuel Rosier, director of market intelligence at Newzoo, noted that platform boundaries continued to blur in 2025 as players moved fluidly between mobile, PC and console. According to Rosier, “the device mattered less than continuity of identity, progression and social presence”, with players increasingly following experiences rather than hardware. As a result, traditional app stores are playing a diminishing role in discovery. Store pages now function primarily as conversion points, while awareness and intent are increasingly formed upstream through creators, communities and social platforms. This shift is unfolding alongside an AI-driven surge in competition across acquisition channels. AppsFlyer data shows the paid install share for mobile games rose 10% year on year on both Android and iOS in 2025, while ad impressions increased 20% over the same period. These figures point to a market flooded with new titles, apps and creative variations, fuelled by AI-powered development and asset production tools. Studios can now generate code, mechanics, models and animations at speed, capabilities once reserved for AAA teams. The result is more games reaching market faster, and far greater pressure on marketers to cut through. Platform dynamics reflect this strain, with Android skewing heavily toward paid acquisition at 59% of installs, while iOS sits at 44% due to higher media costs and stronger organic pull. The impact is uneven across genres and regions. Hypercasual games remain the most dependent on paid traffic, accounting for 83% of installs on Android and 72% on iOS, driven by short lifespans and ad-based monetisation models. Casual games saw paid share jump 18% on Android to 54%, while midcore titles recorded a 32% increase on iOS to reach 24%. In Western markets such as the US and UK, paid share rose sharply across casual, midcore and hypercasual genres, underscoring rising competitive intensity. At the same time, Newzoo’s 2025 data highlights a broader behavioural shift. Players increasingly discover games through social and creator channels, enter via mobile, and deepen engagement and spending across PC and console. While AI continues to flood gaming channels with content, long-term value is being shaped by fewer, deeper player journeys rather than sheer scale alone. Fighting for attention beyond installs With acquisition costs at record highs, studios are refocusing on retention and monetisation. Hybrid monetisation models grew 7% year on year, as developers combined in-app purchases with advertising to stabilise revenue streams. For these models to succeed, Thé stressed that advertising must be treated as part of the player experience, not an afterthought. Ad quality, he said, directly influences retention, app store ratings and brand trust, and should be approached with the same care as core gameplay

Omnicom Production has appointed Melissa Chan (pictured) as its chief executive officer for APAC, according to a post she shared on LinkedIn. She reports directly to Omnicom Production global CEO Sergio Lopez. The move comes shortly after Craft Worldwide, the global production arm of McCann Worldgroup, revealed last week that it has joined Omnicom Production. Chan most recently served as regional managing director of Craft Worldwide and McCann Worldgroup APAC, roles she held from 2018 to 2025. She also led Tag from 2015 to 2018 and previously held positions at DDB Singapore and Leo Burnett. On LinkedIn, Craft described the integration as opening “a new level of possibilities for our clients, our teams, and the work we create”, highlighting a focus on combining “Craft, intelligence, and AI” to deliver content experiences that connect. Don’t miss:  TBWAGroup Singapore elevates Mandy Wong to CEO  MARKETING-INTERACTIVE has reached out for more information.  This follows broader restructuring within Omnicom’s network in Singapore unveiled in December last year. McCann and MullenLowe Singapore will combine under Paul Soon, previously CEO of MullenLowe Singapore, who will lead the merged McCann Singapore while overseeing client continuity and integrating MRM and MullenLowe tech teams. Gonzalo Olivera, formerly managing partner of MullenLowe Singapore, will serve as president of the merged organisation, aligning creative, strategy, delivery, and operations. Brandon Cheung, CEO of McCann Singapore and Southeast Asia, will support the transition into early 2026. While MullenLowe is joining TBWA in most global markets, Singapore is a strategic exception, reflecting the complementary strengths and size of the two agencies locally, according to Sean Donovan, president of Omnicom Advertising Asia, at the time. Related articles:  DDB SG CEO Jeff Cheong parts ways with Omnicom as merger retires legacy brands Ogilvy Group Singapore appoints Shirley Tay as CEO  Burson names HS Chung APAC CEO as Adrian Warr exits  source

PropertyLimBrothers, a Singapore-based real estate media and services company, has become the latest cautionary tale of how reputational crises can spiral in the digital age. The controversy began after allegations of a workplace affair involving two senior executives – its co-founder and vice president of strategy – went viral on forums and social media. Rather than addressing the situation publicly, the company has taken subtle digital steps where the executives’ profiles were quietly removed from its website, and posts featuring them have been deleted. At the point of writing, no public statement has been released. However, an unverified internal memo is circulating which was picked up by members of the media, which allegedly detailed that the two executives will be stepping down from the roles.  MARKETING-INTERACTIVE has reached out to PropertyLimBrothers for a statement.  Don’t miss: Why David Beckham’s response to CNBC post-family feud was a total win To many observers in the communications industry, the steps taken by the company hardly work to contain the news making its rounds on closed groups. Nicholas Fang, managing director at communications agency Black Dot, calls the approach “issue avoidance” – a strategy he says is outdated in today’s communications landscape. “Any information vacuum is typically filled with rumours and speculation, especially when it comes to a salacious event such as extra-marital affairs played out between colleagues,” he said. “As it allegedly involved senior leaders of the company, there is a level of responsibility to make its position known publicly, in order to address concerns of stakeholders.” Adding to his point is Jamie Tan, principal consultant, Archetype Singapore who said that in a social-first environment, situations escalate very quickly. “Public opinion often takes shape before companies have had the chance to fully work through the facts internally. How an organisation shows up in that early window can significantly shape perception, and response timing is one of the few things it can still control,” stated Tan. PropertyLimBrothers’ subtle digital edits such as quietly removing executive profiles and deleting posts also carry risk, said industry players. Any attempt to wipe online presence typically fuels more excitement and interest in the issue. Jose Raymond, managing director at SW Strategies explained that “silence only empowers the audience and the public to infer and assign their own meaning to every video, every screenshot and every comment”, which essentially means that the narrative is lost.  Raymond points out that the company may have begun to act internally such as informing stakeholders and editing online content quietly, but asserts that the public, who he calls the most important set of stakeholders, are still in the dark. “It is high time that PropertyLimBrothers recognises that remaining silent will only feed the online frenzy”. He added: For a company which relied on integrity as a core principle, it does not appear to be taking the same approach in explaining themselves when it fell short of its own standards. Echoing his point is Meilin Wong, CEO and partner at Milk & Honey PR who said silence can be strategic when it’s brief and clearly deliberate. However, when it drags on, “it starts to look like you’re either hoping it blows over, or you don’t have control of the situation. In a trust-based business, that’s not a great look.” To Wong, the quiet removal of leadership and posts are actually loud signals that the company has judged the situation as serious. However, without communicating how it plans to address the situation, the company leaves room for speculation. “It doesn’t distance the brand from the issue. It simply confirms the issue is big enough to trigger action, without giving the public the reassurance they’re looking for.” As such, a brief acknowledgement that the situation is being reviewed, can go a long way in signalling responsibility, said Tan. “While companies don’t control the narrative, what they can control is how accountable, engaged and values-led they come across. Extended silence, especially when senior leaders are part of the conversation, tends to invite speculation rather than restraint. Being visible early can matter as much as what is eventually said.” Communicating with integrity All four experts warn that attempts to quietly remove content may backfire. Fang notes that unless there is a guarantee that any and all traces can be removed, online content could still be discoverable. Raymond adds that internet sleuths are already combing through the digital footprints of the executives and the company, meaning “the same people who are trying to break the brand are the ones who smell blood, and will head all guns blazing aiming for the kill.” Moving forward, PropertyLimBrothers has to be transparent and communicative of its next moves. This looks like sharing clearly with the public what happened and what next steps are being taken to allay the concerns of the people behind the online expose, said Raymond.  Fang emphasises that a company such as PropertyLimBrothers, which markets itself as a real estate company ‘with integrity’, faces particular pressure. “There is a real risk that keeping silent will have negative implications for its trustworthiness and credibility among existing and potential clients,” he said. “Companies have a duty to their customers when such incidents occur to show that they do not tolerate anything that could impact their integrity and professionalism, and that they are taking steps to ensure that there will be no impact to their ability to service their clients,” Fang added.  Wong suggests that the company needs to stop scrubbing further proof and start communicating clearly and deliberately on the future of the business with its co-founder. She adds that shifting and controlling the narrative back to the business could benefit PropertyLimBrothers too. This is especially since potential clients may start looking at alternatives. “Competitors are absolutely watching this unfold, and some will use the moment to position themselves as the more stable, transparent, reliable option,” she said, adding that: PropertyLimBrothers really need work quickly to restore its credibility and trust in their business – through clarity and direction, not silence and certainly not digital erasure.

Global sports marketing agency IMG has bolstered its Asia Pacific leadership with the appointment of Carlo Nohra (pictured left) as vice president, football, APAC. Nohra will be based in Singapore and will lead IMG’s football strategy and operations across the region, overseeing client relationships and working with leagues, clubs and federations on governance, commercial growth, media strategy, and long-term development. He joins IMG from In8 Sports where he served as executive director and CEO, Previously, he was VP general manager for WWE Asia Pacific and CEO at Al Jazira Sports and Cultural Club based in Abu Dhabi.  He has also held senior leadership roles including assistant general secretory at the Asian Football Confederation in Malaysi and vice president corporate strategy at World Sport Group in Hong Kong.  Don’t miss: Sports and concerts drive APAC travel as fans prioritise experiences  In tandem, the agency has also appointed Phil Mooney (pictured right) as vice president, strategy, APAC, based in Melbourne. Mooney becomes IMG’s first dedicated strategy hire in the region, reinforcing its global consulting offering. He will lead strategic advisory for IMG’s partners across APAC, focusing on rights, content and partnerships, while working closely with senior regional and global leadership teams. Mooney joins from Paramount / Network 10 and brings over 15 years of experience spanning strategy, commercial transactions, media rights, mergers and acquisitions, and business transformation. Both executives will work with IMG’s APAC team across 15 markets, helping to accelerate business development and deepen its work with leagues and federations through integrated advisory, commercial, digital, production, and event management services. IMG works with major leagues and federations in APAC and globally, including the Premier League, Football Australia, Australian Professional Leagues (APL), World Table Tennis, Asian Tour, LPGA, National Rugby League (NRL), DP World Tour, LIV Golf, WTA Ventures, ATP Media, International Rugby League (IRL), Asian Badminton Confederation, and the Saudi Pro League. Most recently in December last year, the National Women’s Soccer League (NWSL) signed a deal with IMG to exclusively manage and license the worldwide video rights for its leagues and competitions.  The agreement will see IMG manage all the NWSL’s archive footage and programming, including all matches from 2017 across the professional league, playoffs, NWSL Championship and NWSL Challenge Cup. Related articles:   Frasers Group Asia appoints new head of marketing for Sports Direct Malaysia  Singapore Sports Hub becomes The Kallang as precinct gears up for a major glow-up  What Barilla’s Formula 1 move means for sports advertising beyond the Super Bowl  source

When the Tourism Authority of Thailand clarified that its campaign featuring BLACKPINK’s Lisa was not AI-generated, the controversy was not about technology use – it was about trust. Given the polished look of the campaign, consumers were triggered to believe it was AI-generated, highlighting how visual perfection itself has become a point of scrutiny. That reaction reflects a broader shift in audience behaviour as generative tools make high-gloss imagery easier to produce. According to Meltwater and We Are Social’s “Digital 2026: Singapore” report, 71.1% of Singaporeans are concerned about misinformation online, while AI-driven discovery tools are increasingly shaping what people see and engage with. High digital literacy has raised expectations around transparency, with audiences paying closer attention to how content is created, not just how it looks. Against this backdrop, content creators are experimenting with lo-fi visuals, rough edges, and deliberately imperfect executions as signals of authenticity and human judgment. But as “messy” aesthetics gain currency, the line between genuine imperfection and calculated chaos is becoming harder to define. Don’t miss: 48% of HK, SG and ID consumers concerned about loss of human touch in AI Industry players MARKETING-INTERACTIVE spoke to say that the backlash against hyper-polished visuals is not surprising. Kimberley Olsen, co-founder of Yatta Workshop, said anything that looks too perfect now risks being labelled AI-generated within minutes. “Brands can either panic and play defense, or own the narrative before the Internet does,” she said, pointing to campaigns that have chosen transparency over denial. If AI is used, brands should acknowledge it. If it is not, they need to be prepared to show evidence of human craft, whether through behind-the-scenes footage, working files, or process documentation. She added: The ‘trust us bro’ approach isn’t going it cut it anymore. Content creator, founder and CEO of Kobe Evangeline Leong agreed that polish no longer signals quality and can in fact trigger distrust. “When everything can look perfect, perfection stops being evidence of effort,” she said, adding that brands need to move away from optimising purely for output and focus instead on signalling intent. As such the focus should be on why the piece of content was created, the ownership of the creator and what trade-offs were consciously chosen matters. “The most valuable creative work won’t be the most beautiful — it will be the most considered. Human touch will show up in taste, ethics, restraint, and perspective. In the long run, authenticity won’t be about being raw or messy; it will be about being deliberate in a world where anything is possible,” said Leong. The myth of ‘messy = authentic’ As trust in perfection erodes, does this mean we are entering an era of messiness? Leong states that what consumers are responding to isn’t chaos; it’s relief from over-engineered content that feels emotionally empty. Imperfection works when it reveals humanity or lived experience, not when it becomes a shortcut. She added: The risk is when “messy” turns into a formula — then it’s simply polish wearing a different costume. Cheryl Teng, strategy director at VaynerMedia APAC, noted that the problem isn’t polish itself, it’s when content feels designed to tick boxes rather than start a conversation. “Audiences are looking for those tiny, intuitive choices, a specific framing or a raw reaction, that prove a human was actually directing the soul of the message,” she said. Interestingly, Teng added that the market has hit “peak messy”, as consumers can see when imperfection is just another corporate filter. To build trust, brands need to reveal that they understand the lived tensions of their audience, noting: AI can replicate a ‘look’, but it can’t replicate empathy. To build trust, brands and content creators have to dig deeper than aesthetics and look at cohort nuances – not just be messy for the sake of it.  “Consumers want to see a brand that understands the specific, un-glamorous tensions of their life, whether that’s a first-time mom reclaiming her identity or a gig-worker juggling three apps and a 2% battery while being managed by an invisible boss,” Teng said. Olsen added that audiences are highly adept at distinguishing intentional imperfection from lack of effort. “Intentional imperfection is a choice. Sloppiness is just a lack of care,” she said, adding that platform context matters.  While TikTok rewards raw, unfiltered energy, other platforms still demand a degree of aesthetic consideration. Applying the same creative logic everywhere, she warned, often backfires. Where does messy slip into sloppy? Shermaine Wong, founder and CEO of CULT CREATIVE explained that consumers today are smart enough to know the difference where intentional imperfection shows that a choice was made in service of truth, while sloppiness signals a lack of care. Wong also gave points as to how one can actively identify messy from sloppy, “Here’s how it reveals itself: when one element is deliberately raw within work that’s otherwise clearly crafted, we read it as authentic. When everything is rough, we read it as lazy. Competence has to be visible somewhere for the imperfection to register as choice rather than inability.” At the end of the day, Wong outlined that authenticity isn’t in the aesthetic—it’s in the alignment, and “messy” content damages credibility when: It signals apathy rather than authenticity It contradicts your core brand promise It’s so obviously manufactured messiness that it’s just another lie It sacrifices clarity for aesthetic At the end of the day, it would serve marketers well to remember that technology always has and will disrupt the way we live and work – more now than ever. As such, said Ryan Marquez, general manager of Gushcloud Philippines. “Authentic storytelling should always be the focal point of every piece of creative content from brands. Whether it’s polished or not, real people and the stories can touch audiences in a real

Sentosa is turning up the spectacle this Chinese New Year with “Gallop into spring”, a multi-sensory celebration running from 30 January to 3 March 2026. For the first time, Disney favourites Mickey and Minnie Mouse join Sentosa Sensoryscape, taking visitors on an immersive journey that blends Chinese tradition with innovative storytelling and interactive experiences. Drawing inspiration from the ancient tale of Eight Steeds of King Mu, the celebration transforms the island’s renowned multi-sensorial space into distinct zones designed to engage sight, sound, touch, scent, and imagination. At the heart of Sensoryscape stands Yanyang, an 8-metre-tall celestial guardian, flanked by 2.5-metre Mickey and Minnie figures. Guests are greeted by festive blooms and tactile installations representing the eight celestial horses, each symbolising virtues such as vitality, harmony, renewal, and prosperity. Visitors can interact with scent-themed lantern riddles, zodiac-themed displays, and custom Disney and Pixar keepsakes, from personalised Zodiac nameplates to DIY keychains. Don’t miss: Sentosa evolves brand to inspire wellness and balance with new campaign  In addition, striking pair of oversized red packets, featuring a specially commissioned poem by Singaporean composer Dr Liang Wern Fook, offers both a visual spectacle and a photo opportunity that captures the essence of prosperity and good fortune. The celebration doesn’t stop at Sensoryscape. Sentosa has partnered with over 15 island businesses to create an island-wide Chinese New Year experience. Highlights include Resorts World Sentosa’s ‘POP MART The golden gallop series’, family-friendly workshops, themed dining, limited-edition merchandise, and interactive photo experiences from Siloso Beach to Sentosa Cove. Guests can also enjoy curated festive offerings at Amara Sanctuary Sentosa, Silver Shell Cafe, and other island hotspots. Michael Ma, assistant chief executive (business and digital technology group) of Sentosa Development Corporation, said the collaboration marks an exciting first for the island. “This is the first time Disney joins us at Sensoryscape, and through this partnership, we are able to bring a dynamic fusion of storytelling traditions to life,” he said. “It allows families to celebrate Chinese New Year in a way that is immersive, interactive, and truly multi-sensorial.” Ma added that Sentosa continues to position itself as a premier destination for both locals and international visitors. “Through partnerships like this, we are committed to delivering experiences that leave a lasting impression, combining creativity, culture, and fun in ways that resonate long after the festivities end.” Since its opening in 2024, Sentosa Sensoryscape has become a cornerstone for immersive celebrations across the island. Last year, Resorts World Sentosa (RWS) and Sentosa Development Corporation transformed the precinct into a cinematic adventure in partnership with Universal Pictures, DBS Bank, and the Singapore Tourism Board (STB). The activation brought the world of Wicked: For Good to life ahead of the film’s release, with visitors stepping into the Land of Oz through glowing gardens, interactive installations, and larger-than-life photo moments. Highlights included a reimagined Yellow Brick Road leading to the Emerald City, Glinda’s bubble surrounded by tulip blooms, a nine-metre-tall Elphaba’s Hat at Lookout Loop, and a night-time spectacle at the Lake of Dreams featuring music from the film and sparkling Emerald City illuminations. For Singapore’s 60th birthday and the 10th anniversary of the Sentosa Cable Car, the “Peranakan Reimagined” cultural showcase co-produced with Mount Faber Leisure Group (MFLG) invited visitors to explore Peranakan heritage through projection art, performances, workshops, curated dining, and multi-sensorial installations. Highlights included a 7.2-metre-tall Peranakan-inspired house at Lookout Loop, a field of beaded blooms featuring traditional kasut manek (Peranakan beaded slipper), kebaya exhibitions, and Peranakan-themed cable car cabins offering moving cultural tributes along Sentosa’s coastline. The initiative also featured interactive workshops, live music by Peranakan Sayang, festive markets, and special promotions for Sentosa Islander members, reinforcing Sensoryscape’s role as a dynamic space for cultural storytelling and immersive experiences. Related articles:    F&N charges into CNY with limited-edition packaging and festive plushies  Tiger Beer unleashes first-ever lion dance troupe to spread CNY cheer across SG  FairPrice celebrates small everyday moments that make CNY shine  source

BMW Performance Motors Limited (PML) has appointed Bacon Creatives as its integrated agency of record in Singapore, following a competitive pitch. The appointment spans three years, with an option to extend for two more, and expands Bacon’s remit from social media management to include integrated campaign support, creative production, and a suite of digital services such as SEM and social media management. Creative production will be shared with secondary agency Kuubiik. Don’t miss: Digital and social media accounts up for grabs across SG govt boards  PML cited Bacon’s strategic and creative excellence, deep understanding of the brand, and consistent reliability as reasons for selecting the agency. “The Singapore automotive market is highly competitive, and standing out requires equal parts creativity, agility, and strategic clarity. We have always believed in close collaboration with our partners to achieve shared goals and Bacon Creatives is one of them,” said Ginger Foo, director, customer excellence and marketing at PML. “We believe they are a right partner to help Performance Motors elevate the BMW brand and drive stronger connections with our customers. Together with their commitment to excellence, all these make them a valuable extension of our PML team,” added Foo.  Bacon has previously collaborated with BMW Performance Motors on multiple campaigns, including PML Autofest, the company’s annual sales event, and creative video content highlighting BMW owners’ connection with their cars. Looking ahead, the agency teased a 2026 BMW hong bao (‘red packet’) tied to the Year of the Horse, with further projects planned. “Performance Motors is an organisation close to my heart and having built positive momentum with the team over the years, the Bacon team is elated to be appointed AOR for the coming years,” said Ivan Yeow, managing director, Bacon Creatives. “We look forward to supporting PML’s quest as we #Drivefor1 and ‘Win as one’ in the Singaporean premium automotive market,” added Yeow.  The appointment follows a string of agency wins in Singapore’s automotive sector. Earlier this week, Volkswagen Singapore named GrowthOps Asia as its lead creative, social media, and SEO agency. The agency will support Volkswagen Singapore’s always-on brand presence and upcoming vehicle launches, focusing on growing both owned and earned demand in one of Asia’s most competitive automotive markets. Meanwhile, in August last year, Mercedes-Benz Singapore appointed Allison Worldwide as its strategic communications partner to boost the brand’s presence, personality, and resonance in the local luxury market. The collaboration covers earned media, influencer engagement, and social storytelling, starting with LinkedIn as part of a phased communications strategy.  Related articles:   Audi Singapore shifts gears with new creative agency  Kia picks new social media agency for APAC   KFC Singapore picks new integrated creative and social agency  source

Mastercard has named Alexandra Sloane vice president, integrated marketing and communications for Australasia, strengthening its regional leadership as the payments giant accelerates its push into brand-led growth, digital commerce and new ways to pay. Sloane joins from Optus, where she led brand, network, sponsorship and events during a period of sustained pressure and transformation for the telco sector. Her move marks a shift from telco brand rebuilding into the fast-moving payments and commerce category, as Mastercard invests aggressively in integrated marketing, partnerships and emerging payment experiences. In her new role, Sloane will oversee Mastercard’s brand strategy and integrated communications across Australia, New Zealand and the Pacific Islands, working across B2B, partner and consumer marketing, as well as sponsorships and communications. She will oversee key brand assets including Mastercard’s sponsorship portfolio and digital platform priceless.com, while supporting the company’s long-term growth agenda toward its 2030 roadmap, including numberless cards and agentic commerce. Sloane brings deep platform and technology experience to the role, having previously spent a decade at Meta across Sydney and Singapore, where she worked across Facebook, Instagram and Messenger in Australia, New Zealand and Asia Pacific. She also serves on the board of the NSW Parks and Wildlife Trust and advises Australian technology start-ups. Julie Nestor, executive vice president, marketing and communications, Asia Pacific at Mastercard, said Sloane’s appointment comes at a critical moment for the brand. “Alex brings a rare mix of creativity, commercial acumen and leadership experience,” Nestor said. “She understands how powerful our brand can be when it’s connected to the right stories, experiences and partnerships, and she will play a key role in shaping how we show up for our customers and their communities.” Sloane said the move reflects the scale of change underway in payments and commerce. “The payments ecosystem is undergoing a once-in-a-generation transformation,” she said. “Mastercard sits at the intersection of brand, technology and customer experience, and I’m looking forward to working with the team to bring the brand to life in new ways for people and businesses across Australasia.” Sloane reports to Paul Monnington, division president, Australasia, and Julie Nestor, executive vice president, marketing and communications, Asia Pacific. Her appointment follows a series of recent leadership changes within Mastercard’s Australasian business, as the company sharpens its regional focus and prepares for further expansion across digital payments, partnerships and commerce innovation. source

Singapore digital telco Circles.Life has doubled its platform fee, increasing it from 30 cents to 70 cents. According to Circles.Life’s website, the platform fee increase supports new features and services designed to give users more “everyday value”. This includes enhanced access to more CirclesAI tools, new cashback rewards through Circles Zerofy, and an upcoming virtual cashback card for online and overseas spending. The website stated that Circles.Life will “continuously invest in improving platform performance, security, and new digital features to enhance overall experience.” Don’t miss: Loyalty marketing gets cute with plushie strategy As to whether the platform fee will increase in the future, Circles.Life said “As a fully self-developed, locally built platform, these investments help us bring you meaningful enhancements over time. If any changes are considered in the future, we will always communicate them in advance. Transparency and clear communication remain our priority.” The platform fee applies to all customers and is included in their bill. It cannot be waived as it is “an important part of ensuring the continued enhancement of our services,” stated the telco on its website. Circles.Life has declined to comment. The fee adjustment has garnered mixed public sentiments across social media platforms. Before the platform fee update, Circles.Life sentiment was strongly positive (71.4% positive vs 14.3% negative), driven by user-led themes around value, flexibility, and ease of use, according to media intelligence firm CARMA. Before the fee adjustment, the telco’s word cloud included words such as ‘reliable’, ‘generous’, ‘everyday’ and ‘simple’ among others. Analysis by media intelligence firm Truescope revealed that conversations regarding the fee adjustment included enquiries into the operational necessity of AI integration and observations regarding the pricing structures of other telecommunication providers. In addition, forum discussions provided evidence of customer skeptism about the company’s strategic direction, suggesting that the fee increase might accelerate customer doubt rather than enhance value perception, said Truescope. Questions about transparency and future fee increases also emerged as a theme in online conversations, querying whether customers could expect additional hikes. Post-update, Circles.Life’s sentiment shifted sharply to neutral (10% positive, 0% negative). This signals not a backlash, but reduced advocacy. “It seems the update did not provoke widespread criticism but dampened goodwill. The conversations suggest that users showcased scrutiny instead of hostility,” said CARMA. Meanwhile, positive feedback primarily reflected the company’s messaging, centering on value justification through new features and services, stated Truescope. It’s word cloud now includes words such as ‘digital platform’, ‘AI tools’ and ‘rewarding services’. The platform fee adjustment comes amid Circles.Life’s continued advocacy on regulatory matters in Singapore’s telecom market. In November last year, the telco submitted formal feedback to the Infocomm Media Development Authority (IMDA) regarding the proposed merger between M1 and Simba Telecom, cautioning that the deal could harm consumers if proper safeguards are not enforced. As Singapore’s largest mobile virtual network operator (MVNO), Circles.Life highlighted the merged entity’s potential market power, noting it would control 77% of the wholesale market and hold more than 38% of the postpaid retail market. Drawing on its operational experience under Singapore’s MVNO wholesale access framework, the company urged IMDA to preserve competition and ensure fair wholesale access, stressing that adequate protections are essential to safeguarding consumer choice and maintaining an open telecom ecosystem. Related articles: Re-writing a contract of trust: Why SIA’s KrisFlyer overhaul feels personal How is SIA’s KrisFlyer programme revamp impacting consumer sentiment? Circles.Life parent sues M1 over breach of mobile network deal source

The Tourism Authority of Thailand (TAT) has denied using artificial intelligence (AI) in its latest campaign featuring Thai pop star and BLACKPINK member Lalisa “Lisa” Manobal. The image, released under TAT’s “Amazing Thailand” banner, shows Lisa sitting in a wooden boat, gazing into the camera as she drifts along the Red Lotus Sea in Udon Thani province. The poster quickly became a topic of debate online, with some questioning whether the image had been digitally manipulated beyond traditional post-production. Memes, mockups and comments questioning its authenticity flooded social media, highlighting a growing audience sensitivity to hyper-polished visuals. These discussions, according to media intelligence firm CARMA, generated temporary scrutiny, with only 14.6% positive and 0.3% negative sentiments surrounding the campaign.  In a statement seen by MARKETING-INTERACTIVE, TAT clarified that the image was not AI-generated, though it was enhanced for aesthetic purposes. The campaign, it said, was created by a professional design team in close collaboration with the artist’s management, with the goal of “best showcasing the beauty of Thai tourist destinations.” TAT also thanked fans for their feedback, noting that suggestions would inform future campaigns to foster a “more positive image for artists and Thailand.” Don’t miss: Sports and concerts drive APAC travel as fans prioritise experiences The ensuing AI debate highlights a growing trust gap around generative technology. According to a Forrester consumer insights report, 24% of online adults in Singapore consider AI a serious societal threat, with deepfakes cited as a top concern. In Australia, trust in AI varies by gender, with only 50% of women expressing confidence compared with 70% of men. Meanwhile, markets including the Philippines, Indonesia, and Malaysia have restricted AI chatbot Grok amid fears of deepfake content. This skepticism is also felt within the creative industry, where professionals are divided on whether hyper-polished visuals now carry more risk than reward in the post-AI era, and how much “authenticity” audiences expect versus aspirational perfection. When “too perfect” becomes a risk Carlos Mori Rodriguez, chief innovation officer at EON Group, said audiences are now conditioned to view perfection with suspicion. “For decades, high production value signaled effort and legitimacy. Now, it signals potential manipulation,” he said. “The accusations aren’t really about the technology. They’re shorthand for a deeper concern: ‘I no longer trust institutional imagery at face value.’”  This skepticism is growing in younger audiences who increasingly reject traditional, overly polished communications, and instead focus on the underlying values a brand represents, added Ivan Yeow, managing partner at Bacon Creatives. To resonate with them and earn their trust, authenticity has never been more crucial in the age of AI.  This is especially since what once required hours of digital imaging work can now be achieved with a single prompt. In this example, the unusually pink skies and the improbability of Lisa being surrounded by a sea of lotuses lent weight to audiences claiming the work was AI generated. “Ironically it was these perceived imperfections that drew criticism because audience felt “this doesn’t look real”, said Yeow adding that:  When “too perfect” becomes commonplace, perhaps the concern is less about aesthetics and more about how easy perfection has become. There is also a specific kind of frustration at play here because when a global icon such as Lisa is used as people expect total authenticity, said Jay Ng, founder, Hong Kong creative agency So Don’t Bore. “When the final image looks so polished that it feels too good to be true, the audience starts to feel like the brand is cheating. Instead of seeing a professional photoshoot, they see a synthetic shortcut, which feels like a letdown when they were looking for a genuine connection with their idol.” Guo-You Chew, APAC managing director, Tommy said Gen Z audiences increasingly want to see themselves reflected in the brands they follow. Relatable content, he argues, is more important for this target audience. “Audiences are getting increasingly wary of synthetic content, adopting a ‘guilty until proven human’ mindset, said Chew. “It reflects a growing desire for transparency and the preservation of authentic human craft in creative.”  Tourism marketing is particularly vulnerable because it depends on emotional credibility and the promise that a place is real, knowable and worth experiencing. When that promise feels engineered, even unintentionally, audiences pull back, explained Rodriguez.  Ambition versus authenticity  This shift in audience expectation has changed how creative teams approach visual perfection. Yeow has observed brands on TikTok favouring the “common person on the street”, often jumping on current trends. Production houses have also evolved to shift towards social-first video content rather than traditional TVC-level finishes.  Similarly, Rodriguez noted that some brands are experimenting with lo-fi aesthetics and behind-the-scenes content to signal human effort. However, he cautions against treating it as a simple formula, emphasising that dialing down isn’t the same as building trust:  If audiences sense that the imperfection itself is calculated, you’ve just replaced one form of artifice with another. Audiences aren’t fooled by aesthetic choices alone. They’re looking for evidence of human judgment and human stakes. So Don’t Bore’s Ng said audiences are currently in a hyper-sensitive phase, but he thinks that is just a short-term reaction as AI awareness peaks. “In the long run, people will probably care less about the specific tools used and more about whether a brand took that extra step to bring something fresh to the table.”  “For creative teams, the mission is the same as it has always been: whether it is human-made or AI-augmented, you have to show the effort and bring a new idea that proves you didn’t just settle for an automated shortcut,” Ng added. Hasbidin Hassan, managing partner and founder, HYP Global, warned against overcorrecting out of fear. “Advertising has always shown the best version of reality. Long before AI, we had retouching, CGI, and heavy art direction. Polish isn’t the enemy. If brands start deliberately making work look worse just to feel ‘real’, we lose craft, taste, and intention.” The question then remains: How can creative teams protect trust without compromising ambition? Both