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

In Hollow Knight, you explore a world gone to ruin, where structures are left to rot and plants and fungus reclaim what’s left. This haunting, tragic insect kingdom — and its unforgettable, challenging fights — took hold in my imagination thanks to Christopher Larkin’s soundtrack. His melodies seemed to embolden prideful enemies, like 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 hints at a sense of curiosity too, at least to my ears, and the possibility of rejuvenation. As we keep waiting (and waiting, and waiting) for more information on Hollow Knight’s sequel Silksong, Polygon 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 pursue creating game music? Can you set 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, especially that of Ocarina of Time was a big influence. I found the music for the different areas of the game really captivated my imagination. I was inspired by this for sure. I also took a lot of inspiration from the music of Final Fantasy, particularly VII and Crystal Chronicles. While as much as I’d like to say it was a singular piece or soundtrack, the reality was 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 do recall one point where I heard the piano version of “Those Who Fight” which was used in Final Fantasy Advent Children. When I heard this piece I remember thinking, “Why don’t they use that version in the game?” The sound of it also provided a gateway into the idea of combining a modern classical sound with videogame music, and soon after I decided to pursue studying at a music conservatoire 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 takes heavily from and plays on the idea of baroque string pieces, particularly 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 mantises that dutifully protect their village. They are proud, swift and deadly. The music of Vivaldi is equally swift, virtuosic and precise. Whether “elite” is the correct word, I am not sure, but while I have not personally studied string playing to that extent, I think it is 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 of Vivaldi’s Four Seasons were the big reference point, with use of a lot of tremelo strings and harpsichord. [Media: https://christopherlarkin.bandcamp.com/track/mantis-lords] 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 received when starting out on the project was to work on a score that evoked a sense of melancholic elegance. The world that you explore is in an arguably sad state. A once prosperous kingdom fallen to ruin. Some 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 like the flute, oboe, cor angalis, full string section, brass, organ, and Amelia Jones’ lovely voice. The score isn’t too heavy handed with full “epic” orchestration at all times, but it has it’s moments. Often some aspect of a particular area in the game inspires the choice of instrument. With Greenpath, l used instruments I often associate with nature, such as the harp and marimba, and for ascending the Soul Sanctum I used organ which kinda replicates the sacredness, or perhaps “old scholarly” vibe of the space. Is there anything else I should know about your approach to composing video game music? A lot is in the works right now which I am very excited to share when I can ;)