A Hollow Knight boss fight found its rhythm thanks to a 17th century violinist

In Hollow KnightExplore a world in ruins, where structures are left to rot and plants and fungi reclaim the remains. This haunting, tragic insect kingdom—and its unforgettable, challenging battles—took hold of my imagination thanks to Christopher Larkin’s soundtrack. His melodies seemed to encourage proud enemies, as during the battle against the boastful Dung Defender, or his songs would sink me into melancholy as I explored crumbling structures, accompanied by “City of Tears.” The soundtrack also hinted at a sense of curiosity, at least to my ears, and the possibility of rejuvenation.

As we continue to wait (and wait, and wait) for more information about Hollow Knightcontinuation of ‘s Silk singingPolygon asked Larkin some questions about his process as part of Polygon FM, our theme week celebrating the intersection of music and games.

Polygon: Was there a game soundtrack or song that inspired you to start making game music? Can you paint the scene of what that felt like for you, and why the music was so effective?

Christopher Larkin: The music for the Legend of Zelda series, particularly that of Ocarina of Time was a big influence. I found that the music for the different areas of the game really captured my imagination. I was definitely inspired by that.

I also took a lot of inspiration from the music of Final Fantasy, especially VII And Crystal Chronicles.

While I’d like to say it was a single piece or soundtrack, the reality is that it was a process of growing up playing games while exploring the possibilities of music. This exploration was a kind of continuous flow. I can remember a point where I heard the piano version of “Those Who Fight” that was used in Final Fantasy Advent Children. When I heard this piece, I thought, “Why don’t they use that version in the game?” The sound of it also provided a gateway to the idea of ​​combining a modern classical sound with video game music, and soon after I decided to study at a music conservatory after high school.

Can you break down one of your own songs and its influences? Was it inspired by game soundtracks, other music, or something else?

There is one piece in Hollow Knight called “Mantis Lords”, which heavily relies on and plays with the idea of ​​baroque string instruments, specifically the music of Vivaldi. The choice to do this was largely inspired by the Mantis Lords themselves in the game, who are an elite race of praying mantises who dutifully protect their village. They are proud, fast, and deadly. Vivaldi’s music is similarly fast, virtuosic, and precise. Whether “elite” is the right word I’m not sure, but while I haven’t studied string instrument playing to that extent, I think it’s safe to say that this music requires a significant amount of discipline and study, perhaps reflecting the sense of dedication and duty of these in-game characters.

The allegro movements from Vivaldi’s Four Seasons formed the main point of reference, with extensive use of tremolo strings and harpsichord.

What are the main instruments used to record the soundtrack for Hollow Knight? How did you choose those instruments?

One of the main directions I was given when I started the project was to work on a score that evoked a sense of melancholic elegance. The world you explore is in an arguably sad state. A once prosperous kingdom that has fallen into ruin. Some of the choices in the instrumentation were made to reflect this. I used a lot of soft piano and worked with a talented violist by the name of Tim Cheel on the viola parts. There are a number of other instruments such as flute, oboe, cor anglais, full string section, brass, organ and the beautiful voice of Amelia Jones. The score is not too heavy handed with full “epic” orchestration at any point, but it has its moments.

Often, a certain aspect of a particular area in the game will inspire the choice of instrument. With Greenpath I used instruments that I often associate with nature, such as the harp and marimba, and for the ascent of the Soul Sanctum I used an organ that mimics the sanctity, or perhaps the “old scholar” atmosphere of the space.

Is there anything else I should know about your approach to composing video game music?

Work is in full swing right now and I’m very excited to share this as soon as I can 😉