Hollow Knight’s composer talks musical inspirations
As a gamer who has traversed through countless digital worlds, I must say that Christopher Larkin’s work on Hollow Knight’s soundtrack has left an indelible mark on my gaming journey. The haunting melodies of his compositions have breathed life into the desolate insect kingdom, making each fight against its formidable denizens a heart-pounding adventure and every exploration through its crumbling structures a poignant journey.
In the game titled “Hollow Knight“, you delve into a decayed world, where once grand structures now crumble and decay, as nature reclaims what remains through plants and fungus. This eerie, sorrowful insect realm, filled with memorable, tough battles, left an indelible mark on my mind, largely due to Christopher Larkin’s enchanting soundtrack. The melodies he crafted seemed to boost the confidence of formidable adversaries, such as during combat against the boastful Dung Defender, or they submerged me in a somber mood while I traversed ruined structures alongside “City of Tears.” Larkin’s music also suggested a spark of curiosity and the hope for renewal, at least to my ears.
Eagerly anticipating every new detail about Hollow Knight’s sequel Silksong, I recently had the privilege to listen in on an exclusive interview between TopMob FM and its creator, Larkin. This special event was part of TopMob’s themed week dedicated to exploring the fascinating connection between music and video games. As a devoted fan, it was thrilling to gain some insights into the creative process behind one of my favorite games!
Is there a particular game soundtrack or tune that sparked your interest in composing game music? Could you describe the atmosphere it created for you, and explain why it resonated so deeply?
Christopher Larkin: The music from The Legend of Zelda series, particularly that of Ocarina of Time, had a significant impact on me. I was deeply captivated by the music for each game zone, and it definitely sparked my creativity. I was undoubtedly inspired.
Additionally, I drew significant influence from the tunes of Final Fantasy, especially those found in Final Fantasy VII and Crystal Chronicles.
Instead of describing it as a singular piece or soundtrack, my experience was more about growing up and discovering music through video games. This journey was like an ever-flowing river. At one memorable moment, I came across the piano version of “Those Who Fight” from Final Fantasy Advent Children, which left me wondering why it wasn’t used in the game itself. Hearing this melody sparked a thought about blending modern classical music with video game tunes, leading me to consider furthering my studies at a music conservatory after high school.
Could you share some insights about the composition of one of your songs, including its sources of inspiration? Is it a blend of video game soundtracks, other musical pieces, or perhaps something else entirely?
In the game “Hollow Knight,” a track titled “Mantis Lords” draws heavily on the concept of baroque string pieces, specifically reminiscent of Vivaldi’s music. This musical choice was likely influenced by the Mantis Lords within the game, an elite mantis race that fiercely guard their village. They are known for their pride, speed, and deadly prowess. Similarly, Vivaldi’s music is characterized by its swiftness, virtuosity, and precision. Although I am not certain if “elite” perfectly encapsulates this, it can be inferred that mastering such intricate string music demands considerable discipline and learning, possibly mirroring the dedication and sense of duty demonstrated by these game characters.
In the composition of Vivaldi’s Four Seasons, we drew significant inspiration from the lively allegro sections, incorporating numerous tremolo strings and harpsichord throughout.
As a seasoned musician with decades of experience under my belt, I’ve had the pleasure of working on many fascinating projects over the years, but none quite like Hollow Knight. When it comes to recording the soundtrack for this captivating game, I wanted to create an atmosphere that would immerse players in its rich world.
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.
Frequently, the musical selection in a game’s specific setting is influenced by certain elements. For instance, when creating Greenpath, I chose instruments like the harp and marimba, which evoke a sense of nature, while for the Soul Sanctum ascent, I opted for an organ that embodies the sanctity or perhaps scholarly atmosphere of the locale.
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 😉
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2024-08-08 19:19