The online Flash game community encouraged "jumping in and making something weird, and people would check it out," Wilton says. Widely proliferated, free, and easy to use, Flash was the backbone of the creative internet in the 00s, and Wilton was drawn to it from his teenage years.
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Wilton met art director James Pearmain and design director Jay Armstrong through chat forums dedicated to Adobe Flash, a piece of computer software used to make games and animated shorts. Making approachable games has been a guiding principle for their collaborations from the get-go. Massive Monster's first official title was 2018's The Adventure Pals, but the studio's three co-directors have been working together for more than a decade, since they met online as teens. ( ABC Arts: Kate Disher-Quill) Making approachable games Julian Wilton, the creative director of Massive Monster, won an Australian Game Developer Award in 2019. But the game's early success also has something to do with his studio's respect for the breadth and diversity of the people who play video games.
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Speaking to ABC Arts ahead of the global launch, Wilton graciously ascribed the game's reception to the marketing campaign by the game's US-based publisher ("Devolver Digital really know how to do their job!"). It's a game that puts fun first, welcoming in a wide variety of players without sacrificing (no pun intended) the strategic edge and replayability of a challenging title.
When Massive Monster released a demo of Cult of the Lamb a few months after its trailer, it was clear that the game's blend of creepy and cute ran deeper than its aesthetic: it combines action-packed dungeons and tightly designed combat with gentler gameplay such as fishing, community building and home decoration elements inspired by titles such as 2020's smash hit, Animal Crossing: New Horizons. Set to a groovy, ethereal beat by First Nations musician and producer Narayana Johnson (who wrote the game's soundtrack), the trailer triggered a flurry of activity on social media that has continued to grow in the year leading up to Friday's release. The announcement trailer focused on narrative and aesthetic rather than the mechanics of gameplay in stunning cell animation, it dramatised the game's titular protagonist as it escapes the sacrificial altar to start its own cult of adorable animal followers, exacting revenge in the name of a mysterious entity known as The One Who Waits.Ĭult of the Lamb is animated by Half Giant, an Australia studio.
In the year since his studio Massive Monster's fourth game was announced at the European trade fair Gamescom, Cult of the Lamb has become one of the most keenly anticipated video games of 2022.Īhead of its global release on Friday, pre-orders alone had driven the Melbourne-made indie to the top of the sales charts on digital video game marketplace Steam.Īt its Gamescom debut in August 2021, Cult of the Lamb immediately distinguished itself from other games. "I was refreshing the Steam store page yesterday, and watching the numbers continue to go up … this is in a totally different league to our previous games." On the precipice of release day, Cult of the Lamb's creative director Julian Wilton was still pinching himself: "I haven't taken it in yet, because my priority has been getting the game out," he told ABC Arts.
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