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.
At its Gamescom debut in August 2021, Cult of the Lamb immediately distinguished itself from other games. 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.
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. Wilton enjoyed early success through this community with a Flash game called Angry Bees, which was published on popular video game website Miniclip, earning the then-teenager a cool $20,000 .
Despite its mass appeal, the gameplay in Cult of the Lamb was initially inspired by a genre that is notoriously challenging: the roguelike. The term is named for the 1985 computer game Rogue, and refers to video games that share a set of challenging gameplay features. In the last 10 years, the roguelike genre has seen a resurgence through titles such as the hugely popular Darkest Dungeon and Binding of Isaac. At the same time, the genre has seen pushback from players who are left out due to these games' high barrier to entry.
While there are some differences in Cult of the Lamb's four difficulty settings that are discernible to the player – you have fewer health points in harder modes, for example – there are also subtle assistive aspects built into the game's standard mode that respond directly to player behaviour.
Band this shit, man!
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