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Colt Canyon crowned ‘Best Game’ and LUNARK ‘Most Anticipated’ at GameMaker Awards 2021

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The judges have deliberated. Over 33,000 votes have been cast. And we can now reveal that Colt Canyon has been crowned ‘Best Game’ and LUNARK ‘Most Anticipated’ game of the year, at the GameMaker Awards 2021.

Created by German-based developer Retrific, Colt Canyon is a stylish western-themed pixel art shooter combining roguelike elements with real-time combat. The judges were impressed with Colt Canyon’s highly engaging gameplay and heavily pixelated artist style. While in the popular vote, members of the GameMaker and Opera GX communities voted Colt Canyon the clear winner.

The other finalists for ‘Best Game’ included: Chicory: A Colorful Tale, Jet Lancer, Post Void and Cook, Serve, Delicious! 3?!.

The winner of ‘Most Anticipated’ game is LUNARK, from Canari Games. LUNARK is a 2D cinematic platformer, designed in the vein of ’80s and ’90s classics. The game challenges players to run, jump, hang, climb, roll, and shoot their way through a kaleidoscope of different environments. These include mysterious alien ruins, a flying penitentiary, a high-tech megalopolis, and a majestic forest.

The judges were blown away with how the Canari Games team have pushed the creative limits of cutscenes and pixel art in GameMaker, to create a game that is both visually stunning and great to play. Set for release later this year, LUNARK also made a big impression with the voters – who overwhelmingly crowned it the ‘Most Anticipated’ game of 2021.

The other finalists for ‘Most Anticipated’ game included: NYKRA, Jitsu Squad, APICO and Toodee and Topdee.

The GameMaker Awards, in partnership with SpecialEffect, a charity that uses video games to enhance the lives of those people with physical disabilities, celebrate creativity and innovation in Indie game development, honouring the best games created using GameMaker Studio 2 as well as the Indies and Studios that designed them.

From over 200 entries, only 5 games for each category were selected by an expert panel of industry peers, including GameMaker Studio CTO Russell Kay, Opera GX Product Director Maciej Kocemba, and Into Indie Games Editor Harry Cole.

Russell Kay, CTO, GameMaker Studio, said: “This year’s GameMaker Awards has redefined what we’ve come to expect from the indies and studios that choose GameMaker as their creative engine of choice. Each of the finalists have demonstrated  both amazing creativity, plus the technical ability to harness GameMaker’s powerful functionality to design a game that really pushes the boundaries. Given the incredible standard of this year’s entries, I am only glad that the final decision was left in the hands of our loyal GameMaker and Opera GX communities.”

Jonathan Mannshoven of Retrific, said: “Colt Canyon wasn’t a bestseller when it launched last year. It wasn’t free from criticism either. But by working closely with the community, I’ve been able to make many improvements to the game which have helped turn a lot of criticism into positive feedback. Having all that hard work now paying off with Colt Canyon winning ‘Best Game’ at the GameMaker Awards 2021 is an overwhelming and surreal feeling – just incredible!

“GameMaker has always been my engine of choice as it is just so easy to use yet also powerful, enabling me to reach maximum productivity. Which as a solo developer is extremely valuable. Put simply – I wouldn’t be a game developer now if it wasn’t for GameMaker.”

Johan Vinet of Canari Games, added: “LUNARK started as a passion project to create a game in the genre I loved in my youth. Making it a reality became so clear that I decided to quit my job, start my own studio and launch a Kickstarter campaign. Winning the “Most Anticipated Game” award is an incredible recognition from the players and the GameMaker Community, which brings some welcome legitimacy and a massive confidence boost to actually finish the game! Thank you!”

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BetConstruct AI names Lena Yasir CEO

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Former Pragmatic Play chief commercial officer brings 20 years of iGaming experience to the role.

BetConstruct AI has appointed Lena Yasir as its new chief executive officer, the company said.

Yasir has 20 years of iGaming experience, with a background in B2B commercial strategy, international expansion, and building teams across regulated and emerging markets.

Before joining BetConstruct AI, Yasir held senior leadership roles at Play’n GO, Evolution, and OnGame Network. Most recently, she served as chief commercial officer at Pragmatic Play, where the company said she played a central role in its global B2B growth.

In a statement, Yasir said: “BetConstruct AI is a highly respected and successful company in the global iGaming industry, and I am proud to be joining the business at such an exciting time.”

BetConstruct AI said Yasir will focus on accelerating global revenue, driving innovation, and strengthening partnerships across the iGaming ecosystem.

The post BetConstruct AI names Lena Yasir CEO appeared first on EE Gaming | Global iGaming & Tech Intelligence Hub.

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Latam Intersect flags prime-time World Cup 2026 as a reset for LATAM sports marketing

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Firm points to more LATAM teams, heavier digital viewing and second-screen habits as key drivers for new campaign strategies.

Sports marketing in Latin America will face a different playbook during the FIFA World Cup 2026, according to a new analysis from Latam Intersect. The firm says the expanded tournament format, combined with prime-time scheduling for the region and more digital consumption, will change how brands plan media, content and real-time engagement.

The 2026 edition will feature 48 national teams, 104 matches and three host countries. FIFA projects more than 6 billion people will follow the tournament in some way, Latam Intersect said. For Latin America, the firm highlights the added weight of having 10 regional teams qualified, alongside the region’s historical performance in the competition.

Latam Intersect argues that the LATAM fan base is now younger and more active online, with a predominant age range of 22 to 33 and strong Gen Z and millennial presence. The company cites data indicating 41% of fans already watch matches via digital platforms and 51% use social media while watching on TV, turning each match into a continuous “second-screen” engagement window.

“In 2026, the fan is already in the middle of a conversation that never stops. Brands that show up with a prepared post after the match are already too late,”, said Livia Gammardella, Head of Marketing and Digital de Latam Intersect.

The firm also breaks the audience into three archetypes—casual fan, devoted fan and “fanático”—and says brands often underperform by treating the World Cup audience as one segment. It adds that women fans and fans arriving through pop culture, memes and music are growing audiences that global campaigns frequently miss.

A major difference versus the 2018 and 2022 tournaments is match timing for the region, with most games expected to land in prime time for Latin America, the company said. “A World Cup in prime time was exactly what retail needed. People will not watch the matches alone: they will gather with family, order food, buy products. The brand that uses cultural intelligence to understand the localized rituals of its fan will build far more connection than it could expect”, said Claudia Daré, socia y cofundadora de Latam Intersect.

The company said it has published a related eBook on platform behaviors across Instagram, TikTok and X, alongside market-specific audience data and planning framework

The post Latam Intersect flags prime-time World Cup 2026 as a reset for LATAM sports marketing appeared first on EE Gaming | Global iGaming & Tech Intelligence Hub.

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Claudia Daré partner and co-founder of Latam Intersect.

Sports marketing will change in Latin America during the 2026 World Cup

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The biggest tournament in history arrives with an unprecedented strategic window for brands: prime-time matches, more Latin American national teams, and an audience that is radically more digital and diverse.

The 2026 World Cup is not just the most ambitious edition in the tournament’s history. For Latin America, it represents a convergence of factors never seen in any previous edition: ten national teams from the region qualified, matches will air in prime time, and an audience that experiences football in ways that would have been unimaginable a decade ago.

With 48 national teams, 104 matches, and three host countries, FIFA projects that more than 6 billion people will follow the tournament in some way. For Latin America, whose national teams have won the World Cup 10 times, the competition arrives with a particularly strong emotional weight.

An audience that no longer watches football in silence

The profile of the Latin American fan has changed profoundly. The dominant age bracket today is between 22 and 33 years old, with a strong presence of Gen Z and millennials. This segment does not just consume the sport; it comments on it in real time, amplifies opinions on social media, and lives every match with a phone in hand.

The data is striking: 41% of fans already watch matches through digital platforms, and 51% use social media simultaneously while watching on television. This turns every match into a 90-minute window of continuous engagement, an opportunity that traditional communication strategies, designed for a passive consumer, are simply not built to capture.

“In 2026, the fan is already in the middle of a conversation that never stops. Brands that show up with a prepared post after the match are already too late,” says Livia Gammardella, Head of Marketing and Digital at Latam Intersect.

Three profiles, three different conversations

Not all fans are the same, and treating them as if they were is one of the most common mistakes in communication strategies for major sporting events. Audience analysis identifies three clearly different archetypes: the casual fan, who gets caught up in the spirit during important matches but disconnects if their team is eliminated; the devoted fan, loyal to their team and routines, who sees any brand opportunism as disrespect; and the fanatic, for whom football is identity and belonging, and who grants loyalty only to those who demonstrate a genuine connection to the sport.

To these three segments are added fast-growing audiences that global campaigns often ignore: women fans, whose digital engagement continues to grow steadily, and supporters who come to football through pop culture, memes, and music.

Prime time as a strategic window

One of the most significant differences from the last two World Cups is the broadcast schedule. In 2018 and 2022, the time zones of Russia and Qatar pushed matches into Latin American mornings or afternoons. In 2026, most matches will fall in prime time across the region, opening an opportunity that practically did not exist in recent editions.

“A World Cup in prime time was exactly what retail needed. People will not watch the matches alone: they will gather with family, order food, buy products. The brand that uses cultural intelligence to understand the localized rituals of its fan will build far more connection than it could expect,” says Claudia Daré, partner and co-founder of Latam Intersect.

The Latin American fan of 2026 is younger, more digital, and more diverse than in any previous edition. Digital platforms have shifted from being support channels to becoming the main stage. And while the conversation is global in scale, it is always local in content.

The tournament will unfold simultaneously on two screens. Instagram works as a visual archive and positioning channel. TikTok is where trends are born, rewarding native creativity over expensive production. X is the public square for minute-by-minute conversation, with relevance windows that close in a matter of seconds. And physical spaces, bars, fan fests, family gatherings, regain prominence that the schedules of the last two editions had reduced considerably.

Treating them as a single distribution channel is, according to specialists, the fastest way for a brand to go unnoticed.

The 2026 World Cup arrives with an architecture unlike any previous edition: more countries, more matches, more screens, and an audience that does not wait for kickoff to start the conversation. In Latin America, where football functions as a shared language across generations, social classes, and borders, the tournament promises to be a moment of cultural cohesion on a historic scale.

The post Sports marketing will change in Latin America during the 2026 World Cup appeared first on Americas iGaming & Sports Betting News.

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