#also THE LORE IMPLICATIONS WITH THEIR SCRIPTED JUMPSCARE

[pikolswonderland]

SPOILERS FOR CHAPTER 6!!

I HAVE NO CLUE WHO THEY ARE BUT I LOVE THEM 💕💕💕💕💕💕💕

[feralphoenix]

NO ONE IS HAPPY WITH THIS: Leitmotif & Sound Palette In “Sealed Vessel”

whats UP hk fandom i am back with—“more picante takes?” WOW YES HOW DID YOU KNOW!!!

CONTENT WARNING FOR TONIGHTS PROGRAM: today we are discussing the hollow knight boss fight, and all that entails for all the characters involved. relatedly this post does not have anything nice to say about the pale king, so if you’re very protective of his character, you may want to skip it.

FURTHERMORE, i would like to iterate that this essay is working from a place of compassion for ghost, hollow, radiance, AND hornet, because every single one of them is miserable at this point in the game and doesn’t want the events of this boss fight to be happening at all. this post is not an appropriate place to dunk on ANY of them. if you want to do that, please do it elsewhere.

thanks for your understanding.

ALSO, AS USUAL: if youre from a christian cultural upbringing (whether currently practicing, agnostic/secular, or atheist now), understand that some of what i’m discussing here may challenge you. if thinking thru the implications of radiance and the moth tribe’s backstory is distressing for you, PLEASE only approach this essay when youre in a safe mindset & open to listening, and ask the help of a therapist or anti-racism teacher/mentor to help you process your thoughts & feelings. just like keep in mind that youre listening to an ethnoreligiously marginalized person and please be respectful here or wherever else youre discussing this dang essay, ty

NO ONE IS HAPPY WITH THIS: Leitmotif & Sound Palette In “Sealed Vessel”

A while back @grimmradiance​ made a lovely essay about comparing and contrasting Hollow’s moveset in their Hollow Knight and Pure Vessel boss fights and using what can be gleaned from the differences to speculate about their psychology. (This essay is currently their pinned, but I’ll attach a link in a reblog.) It is extremely good, and it made me want to look at the Hollow Knight boss fight my own self through one of my own areas of expertise, meaning music!

As we are all well aware, Christopher Larkin's soundtrack to Hollow Knight rules ass. There are two specific ways in which it rules ass that are relevant to this essay: Leitmotif, and sound palette.

Quick rundown for folks who aren’t familiar with these terms: A leitmotif is a melody associated with a character or event or mood that's incorporated into songs in different ways based on what's happening in the story. Undertale is an example of a game with an incredibly strong use of leitmotif that’s really only possible because Toby Fox is both the composer and the game creator, so he can synchronize the subtleties of the writing with music and scene scripting too.

The phrase “sound palette” can have a lot of meanings, but in this case I’m using it to refer to specific instruments or groups of instruments that are associated with certain characters. If you’ve watched Steven Universe and seen interviews/production commentary by its composer team Aivi & Surasshu, you’ll hear them talking about part of their approach to scoring episodes being how each main character is represented by certain instruments: Steven with the triangle wave, Pearl with jazz piano, and so on.

Hollow Knight is a small team project rather than a one-person show, so Christopher Larkin can’t go quite AS over-the-top with leitmotif integration as Toby Fox can on simple virtue of Team Cherry having to communicate what they want to him. But Larkin is Hollow Knight's sound designer as well as its composer, so he folds leitmotif and character sound palette together with striking use of stems to create a very immersive and cinematic musical experience that enhances HK’s story and gameplay.

This brings us back to the track Sealed Vessel, which has EXTREMELY tight and cinematic sound design and uses leitmotif and sound palette to not just sock players in the feelings during a charged and dramatic boss fight, but also tell us a lot about what Hollow and Radiance are experiencing emotionally, especially with the gameplay in mind.

So, let’s play the soundtrack version of Sealed Vessel (and some other stuff) and talk about what’s going on in the game during it!

You may want to get out your copy of the OST or visit Christopher Larkin’s Bandcamp page so that you can listen along.

LEITMOTIF & SOUND PALETTE

Before we actually get into analyzing Sealed Vessel, let’s talk about the involved characters’ leitmotifs/sound palettes so we know what we’re listening for.

Both of these things are easiest to identify when characters have a distinct theme song. Ghost does not. However, the main theme of Hollow Knight (see: the title track, Hollow Knight) is used as a leitmotif for the vessels as a whole. Most pieces involved with a vessel character include this leitmotif somewhere. For instance, you can find this leitmotif and variations on it in Broken Vessel’s boss theme. The Vessel leitmotif is led by a cello solo here, so we can identify that the cello is the central part of Broken Vessel’s personal sound palette.

When the Vessel theme is associated with Ghost in specific, it tends to be performed by viola and/or piano, as it is on the title track and in other places like the opening cinematic.

Moving on to Hollow, their specific sound palette is established not in Sealed Vessel but in Pure Vessel, their pantheon boss theme. (Sealed Vessel was composed first, since the Godmaster DLC didn’t drop until over a year after HK’s initial release, meaning Pure Vessel was reverse-engineered/extrapolated from relevant parts of Sealed Vessel. But we’ll get into that later!)

The major instrumental fixtures in Pure Vessel are choir and tubular bells (i.e., those dramatic vertical fellas that sound like church bells or a carillon), with some soft background instrumentation: bass drum, woodwinds (appropriately led by flute in the main melody’s “falling motion” - flute is the centerpiece of TPK’s sound palette), strings, and high/mid brass. Hollow’s overall sound palette has a very Christian choir-esque sound (in the Pure Vessel theme this is very idealized and saintly: soft and slow and tragic) and the beginning of their leitmotif has a very distinctive climbing melody that mirrors their ascent from the Abyss. The Unbearable Vesselness Of Being leitmotif is absent from the Pure Vessel track.

Meanwhile, Radiance’s boss theme is a very fun expression of her character upon which Larkin evidently went ham. Her sound palette is expressed through full orchestra (plus choir and pipe organ) that has a special emphasis on the bass part of the brass section, which does not see much use in the HK soundtrack. Her leitmotif has also got cute and distinctive touches: It’s full of triplets to match her tiara-looking antennae, and also has a repeated “fluttery” pattern of background sixteenth notes as countermelody, often spiraling downwards.

The majority of the piece is loud and bombastic and in a minor key to play up the “resplendent and terrible” wrathful aspect of herself Radi is pushing during this section of gameplay, a very quintessentially moth intimidation tactic: Try to look as scary as possible to keep your enemies from messing with you, since you’re not built for fighting. These blasts of intensity from the brass section match Radiance’s strategy of Overwhelm You With Bullet Hell Spam To Make Up For Lack Of Battle Experience/Poor Aim. But in between said intensity spikes you can hear traces of softer instrumentation and major key, little glimpses of a gentle warmth we can otherwise only infer from her backstory and the implications of Moth Tribe lore.

0:00 - 0:41 - OPENING AMBIANCE

The Sealed Vessel track begins with the ambiance of the Black Egg Temple’s interior: The faint tones of the glowing seals we hear when we pass by them, the only light in a pitch-black world besides the floor lighting up under Ghost’s feet.

Then a slow string tremolo fades in, slowly growing louder. In the track new notes join the tremolo progressively, while in-game a violin joins the anticipatory chord every time you snap one of Hollow’s chains. Which, may I say: A+++++++ sound design!!!!!! Rules ass!!!!!!!!!!!!!!!!!!

The tremolo reaches a peak in dynamics - all three characters present are extremely tense - and then cuts off to allow for Hollow’s boss battle opening, i.e. Radiance screaming. Team Cherry kindly demarcates each phase of the battle with a Radi yell.

0:43 - 1:39 - PHASE 1: HOLLOW ON AUTOPILOT

Phase 1 opens immediately with Hollow’s leitmotif in bells, but with brass, piano, and percussion backing them up; grand and tragic. In the background the bass section of the orchestra's strings flutter in a repetitive pattern of 16th notes, i.e. Panicky Radi Noises. The violins harmonize with Hollow's leitmotif as it climbs, but then join the rest of the string section in fluttering 16th notes, transmuting what in Pure Vessel is the flute leading Hollow back down (8th notes) to a slightly louder “a” from the backseat.

In actual gameplay, the only attacks Hollow uses are their basic nail skills. Building on grimmradiance’s analysis of the window their attacks provide to their psychology, and pairing that with the Pure Vessel leitmotif booming over the metaphorical loudspeakers, we can tell that this is Hollow reacting automatically to a threat the way that their father trained them to. Their conscious mind might still be making dialup noises at Ghost’s sudden reappearance jumpscaring them with murky childhood guilt and trauma, but that’s only let muscle memory take over. Slash, parry, charge and thrust. Their time spent at bee bootcamp (which we can assume because Hornet was trained at the Hive and Hollow’s form while nail fighting is identical to hers on their shared moves) has served them well.

Radiance, meanwhile, has frozen completely for this combat phase, and contributes nothing here except the anxiety of the string section.

As the strings continue to go “a” the piano (Ghost) and woodwinds harmonize on something between Hollow’s personal leitmotif and the Vessel leitmotif in the backdrop.

However at around 1:29ish, the key changes, building into an overall color change for the Sealed Vessel piece.

1:39 - 2:15 - PHASE 2: SHE’S AS SCARED OF YOU AS YOU ARE OF HER

In actual gameplay, the part of Sealed Vessel used for phases 1 and 2 of the Hollow Knight fight is the Entirety of 0:43 - 2:15, possibly because there’s no easy transition spot like there is between phase 2 and phase 3. But the changes to Hollow’s moveset are clearly tied to this specific part of the piece.

Phase 2 is where Radiance pushes herself past her freeze response and starts trying to hit Ghost. Hollow gains two attacks here, which we can tell are Radi because they’re often accompanied by her crying (a softer and more abbreviated sound than her full scream): These two attacks are the Infection blob blast and the Light/Void pillar attack that hits for a full 2 masks damage (which appear to be Radi’s take on Hollow’s Pure Vessel-exclusive moves, their grabby tentacles & silver knife pillars respectively).

In the Sealed Vessel track, this part of the piece is almost entirely Radiance’s fluttering. The strings start by following the descending motion of Hollow’s leitmotif but in 16th notes, then ratchet up to start spiraling down again while straying further from Hollow’s leitmotif. This section ends in a back and forth between hard blasts in a one-two-(rest)-one-two-three pattern and gasps of fluttering between, with piano and low brass building behind it. Eventually the nervous fluttering of the strings becomes less frequent between the blasts: Radiance is inexperienced with fighting and very very afraid, but she’s also FUCKING PISSED and prepared to defend herself.

The OST version of the piece punctuates the break between the first half of the piece and the second with Radiance’s scream.

2:16 - 4:04 - PHASE 3: “I’M HELPING! :)” SAID HOLLOW; “HOLY SHIT PLEASE DON’T,” SAID LITERALLY EVERYONE

Phase 3 opens with Hollow stabbing themself repeatedly, a movement pattern they repeat throughout the phase. It is shocking the first time you see it, and never stops being horrible and sad no matter how many times you do this part of the fight.

Here, Hollow’s mind has finally come back online after their own freeze response, and they choose to destroy themself and bequeath the duty of sealing Radiance to Ghost. Even if they can’t be the one to make their father proud, they can still make sure their directive gets carried out.

Radiance knows exactly what they’re up to and why, and she reacts to this by completely losing her head and mashing buttons in a panic. This is something we see out of her at the ends of her boss fights too, where she’s feeling too threatened and afraid to do anything but spam optic blasts. In the Hollow Knight boss fight this manifests in two horrifying-looking but easy-to-avoid new attacks: The Infection blob sprinkler and the ragdoll.

Ghost does not react visibly because we're in gameplay, but their horror and grief at their sibling’s choice is echoed in the BGM. The Sealed Vessel piece goes soft and sad, with Ghost’s associated viola leading the bass strings in the Unbearable Vesselness of Being leitmotif. At 2:51 the violin comes in with Hollow’s leitmotif, and gradually the choir appears in the backdrop. The ensemble’s overall dynamics build in a slow crescendo, and at the very end of this segment the other instruments begin to join in.

This segment of the piece is also used in phase 4, which occurs if you don't have Hornet’s help or miss your cue to Dream Nail Hollow. Phase 3 ends when Hollow reaches 0 HP; in phase 4 they are for all purposes already dead. But Radiance manifests an extra 250 HP out of terrified, unadulterated FUCK YOU FUCK THIS!!! even though all she can do is get Hollow to fall on their face trying to slash and ragdoll them around. The BGM continues to play as Ghost absorbs Radiance from Hollow and Hollow’s body loses its shape and dissolves into liquid Void.

And there’s one other place in gameplay Sealed Vessel (Unbearable Vesselness of Being) is used: The Path of Pain, the completely evil kaizo-level obstacle course which presumably featured in Hollow’s childhood training, and behind which the Pale King has hidden his last and most terrible secret—that he had realized on some level that Hollow was a kid with feelings who loved him and wanted to make him proud, and condemned them to death despite it all by using them to imprison and torture Radiance as he’d always planned.

The OST version of Sealed Vessel includes the music for both normal ending cinematics, so we’ll be looking at them too.

4:05 - 4:35: ENDINGS 1/2: NO ONE IS HAPPY WITH THIS

In the BGM for The Hollow Knight and Sealed Siblings endings, the Vessel leitmotif is played by violin, viola, and choir while the cellos and contrabasses—and then the brass bass section too—play a slower version of Radiance’s downward spiral. But once Ghost is pierced by the Black Egg’s chains and Radiance’s struggle to free herself ends in failure, the soprano and bass sections harmonize. The animation zooms out of the temple and the seal reforms. They are stuck together now until the end of Ghost’s life. Hooray.

The OST version of the track immediately segues into the BGM for Dream No More.

4:36 - 5:45: ENDING 3: THANKS, I HATE IT

Here, Hornet’s associated instrument, the violin, plays one long sustained note with a few notes of Ghost’s piano alongside as she wakes up.

TPK’s goddamn flute comes in at 5:00 with his leitmotif overpowering the backdrop Vessel leitmotif on piano while Hornet surveys the carnage: The temple has been destroyed, Radiance is dead, and what’s left of Ghost’s corpse is smeared across the floor. The Void may have taken umbrage with his horseshit and unceremoniously vored him, but the motherfucker still got what he wanted in the end; the Pale King has ended the Infection by completing his genocide of the moths, using the children he abused and abandoned as his proxies, and wasting two of their lives. Can I get a hearty THIS SUCKS!!!!!!!!!!!!!!!!!!!!!!!! in the chat.

Given that Hornet herself is canonically unsure if bringing the fight to Radiance is really a just course of action, one can only imagine how she must feel when she sees the cost of that decision.

Our only real moment of catharsis is in this shit situation comes in at 5:13, where the flute gives way to a solo from Ghost’s associated viola, playing the Vessel leitmotif as the Siblings curl up and sink back into the mountain of their corpses. Goodnight, kiddos. You deserved better, and so did literally everyone involved in this whole stupid boss fight.

This is where the OST version of Sealed Vessel ends. Even without the gameplay and story context it slaps, but now that we’ve taken a look at how this 5:45 piece is wall to wall misery and fear on the part of literally every involved character, hopefully it will have even more impact!