IN Empty Knightyou explore a world that has fallen into ruin, where structures have been left to rot, while plants and fungi reclaim what’s left. This haunting, tragic insect kingdom—and its unforgettable, hard battles—captured my imagination thanks to Christopher Larkin’s soundtrack. His melodies seemed to reassure proud foes, as in the battle with the boastful Dung Defender, and his songs plunged me into melancholy as I explored the crumbling structures to the accompaniment of “City of Tears.” The soundtrack also suggests a sense of curiosity, at least to my ears, and the possibility of rejuvenation.
While we wait (and wait, and wait) for more information on Empty Knightcontinuation Song of SilkAs part of Polygon FM, our themed week celebrating the intersection of music and gaming, the Polygon crew asked Larkin a few questions about his original process.
Polygon: Was there a game soundtrack or song that inspired you to start making music for games? Can you describe what that was like for you and why the music was so effective?
Christopher Larkin:Music for The Legend of Zelda series, especially the one from Ocarina of Time was a substantial influence. I found that the music for the different areas of the game really captured my imagination. It definitely inspired me.
I also drew a lot of inspiration from Final Fantasy music, especially VII AND Crystal Chronicles.
While I would like to say it was a single piece or soundtrack, it was really a process of growing up, playing games, and simultaneously exploring the possibilities of music. This exploration was a kind of constant flow. I remember one moment where I heard the piano version of “Those Who Fight,” which was used in Final Fantasy Advent Kids. When I heard that song, I remember thinking, “Why don’t they use this version in the game?” Its sound also gave me a gateway to the idea of combining contemporary classical sounds with video game music, and soon after that I decided to continue my studies at a music conservatory after high school.
Can you break down one of your songs and its influences? Was it inspired by game soundtracks, other music, or something else?
There is one piece in Empty Knight called “Mantis Lords,” which draws heavily on the idea of baroque string pieces, particularly the music of Vivaldi. This choice was largely inspired by the Mantis Lords themselves in the game, who are an elite race of mantises who dutifully protect their village. They are proud, speedy, and deadly. Vivaldi’s music is equally speedy, virtuosic, and precise. I’m not sure if “elite” is the right word, but while I haven’t personally studied strings to that degree, I think it’s sheltered to say that the music requires a significant amount of discipline and study, perhaps reflecting the sense of dedication and duty of these characters in the game.
This allegro movements of Vivaldi’s Four Seasons were the main point of reference, using numerous tremolo string instruments and a harpsichord.
What are the main instruments used to record the Hollow Knight soundtrack? How did you choose these instruments?
One of the main directions I was given when I started working on the project was to create a score that would evoke a sense of melancholic elegance. The world you explore is in a state that could be considered gloomy. A once prosperous kingdom has fallen into ruin. Some of the instrumentation choices were made to reflect this. I used a lot of still piano sounds and worked with a talented viola player named Tim Cheel on the viola parts. There are many other instruments such as flute, oboe, English horn, full string section, brass, organ and the lovely voice of Amelia Jones. The score is not too ponderous, with full “epic” orchestration throughout, but it has its moments.
Often, some aspect of a particular area in the game will inspire the choice of instrument. In Greenpath, I used instruments that I often associate with nature, such as the harp and marimba, and for the entrance to Soul Sanctum, I used an organ, which in some way recreates the sacredness or perhaps “ancient” feel of the space.
Is there anything else I should know about your approach to composing music for video games?
There are a lot of things in the works and I can’t wait to share them with you as soon as I can 😉
