2/25/2023 0 Comments Stencyl redditIt also makes it very clear to me what sounds need to be made and where.Ĭoming back to the soundtrack, it’s worth noting that while I’m doing this I’m gaining familiarity with the space, and sometimes it can help with gradually building a sense of what the music should sound like. The moves of enemies are always really clear, this is also because they want to convey the messaging to the player so the player can learn the patterns of the enemies. It’s always a joy to work with Ari’s animations, and William’s implementation. Then I load that footage into Cubase, my DAW, and there I work on the audio and match up the sfx to the animations. What I tend to do is play the game myself and take footage – at that time it was Fraps, now I’m using OBS. In fact most of the Knight’s main moveset sounds are from that early pass. It was very early, but served as a visual and interactive stimulant for the first few bits of music I wrote, and definitely the first key sound effects. Stencyl was the game editor they were using before moving to Unity. Read More How did the development of the soundtrack interact with the development of the game? (in terms of access to assets, early builds etc.)Ĭhris: The team gave me early builds, including the first Stencyl build. I guess that is akin to making a mood board, just in a sonic sense. Then I start doing some initial sketches, in some cases it might be a full piece, others, like in Hollow Knight’s and also Silksong’s case, I’ll do a mini suite of a few short ideas to give the team a sense of the musical scope. Discussions with the other devs further steer the direction of that imagined sound, as I take in what they are after. I take in what I see in the art and mechanics, and I start imagining what it might sound like. How do you approach a new project, and in Hollow Knight’s case, what inspiration did you draw on for the initial ideas?Ĭhris: I often approach a new project with observation. Several major console ports and over 3 million sales later, Chris is composing the soundtrack for the highly anticipated sequel Hollow Knight: Silksong which is tipped for release in 2022.įor this week’s Soundtrack Spotlight Chris has kindly answered a few questions over email about the inspiration behind Hollow Knight’s soundtrack, the compositional devices used in the score and how he brought the ruined kingdom of Hallownest to life. So, here’s a round up of some free tools that anyone can jump right into using.Adelaide-based Chris Larkin is the South Australian Screen Award winning composer and sound designer behind the hit indie action-adventure game Hollow Knight that released back in 2017. It’s often assumed that making games is about the programming and art, but I believe the true power of learning game design is in learning how to plan and design relationships and experiences. Luckily, there’s a ton of free game-making tools out there that are easy to use, many of them requiring no programming experience and some of them not even requiring art. And not just encourage playing games in a critical, reflective way, but also encourage all people to make games and tell their stories. This sharing of experiences, like good books, are the surest way I know towards building empathy.Īll this is to say, we ought to encourage gaming literacy with a focus on building these two things. A designer has a particular story or experience they wish to convey, and a player has a particular history with a game that can be retold and shared. When they start to understand the systems, they gain agency–the ability to make decisions and affect change. When a player explores these systems, they make meaning from the relationship that emerges out of their actions with the possibility space of the game systems. Games are made up of systems of rules or constraints and particular goals. Games are about two things: agency and empathy.
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