2017’s Hollow Knight rode the coattails of the rising indie game scene to become an industry giant and a landscape-shaping Metroidvania hit inspiring dozens to come. The sprawling labyrinthine world ensnared by infection and curse; the swarms of critters to befriend or conquer (or both); the awe-inspiring atmosphere and soundtrack by Christopher Larkin – everything amalgamated to create a game to remember.
Hollow Knight has lived on in the souls of gamers ever since, from indie-game aficionados to Soulslike lovers to even those on the hobby’s surface level, hearing of the title’s fun and praise. It has personally persisted as my favourite game ever since my enchanting first playthrough amid the pandemic, where being sucked into such a vast kingdom of distractions was all one could desire.
As such, it would be an understatement to say its once-DLC, now fully-fledged odyssey sequel, Hollow Knight: Silksong, has merely been in the limelight. It has dominated conversations, been chanted for in awards shows and Nintendo Directs, and has been a mainstay in the forefront of gaming’s cultural hivemind. This is despite the developers’ radio silence on the product, with some speculating the game was ensnared in development hell (ironically, it was the total inverse).
Yet suddenly, a release date, set to be two weeks from its announcement. Being there in the YouTube livestream trenches to see such a soon date felt worthy of a double-take, and entirely surreal. The chat erupted, cheers were heard through the screen and, following a two-weeks wait with a launch hour that felt like shopping on a Black Friday, it was here. As I paced through seven years of life waiting for this release, I wondered what could possibly be taking so long. After beating the game, I’m amazed this was created in so short a window.
The haunted, solemn and silk-stocking Citadel of Pharloom captures you, journeying a caged vessel through mountains and territories unseen before casting you away in the kingdom’s mossy dregs. Immediately, the world feels of a magnitude that deserved seven years in the oven, inhabited with so much life and sprawling with troves of treasures around every corner (or secret wall; make sure to keep your eyes peeled).
As the first game tasked you with a descent, Silksong commands you to rise to the Citadel of Song that gleams in our peripheral vision, serenading in choir and sending down upon us swarms of cultish, haunted critters who have been blinded by opulence and false promises.
Adding to Silksong‘s grandeur is a new Wish system, giving the playable Hornet droves of quests to complete for each name or face encountered. Inhabitants of the kingdom, whether they be esoteric and quirky quest-givers or solemn pilgrims who’ve reached their limit, never feel of a transient nature, spiritually gone and drained of use once dialogue is finished. Bugs travel around the world completing their own journeys, forging their own paths, and bringing with them new tales or missions to unleash onto you in your next conversation. Simply put, a two-dimensional, cartoonish world has never felt so aware and lived in.
This is all to say the world feels rich and awake, enchanted by an incredible soundtrack per returning composer Christopher Larkin and his team. In unison with illustrator Ari Gibson, every sound and step feels breathtaking, leaving you to wish the ideas and new reveals would never end. For a world so dependent on its silky, bedeviled exterior, and its musical symphonies, no one besides these two individuals could have done a more amazing job.
Each area crafted by these helmsmen and their team of programmers is overflowing with points of intrigue and challenges to overcome. I was discovering new biomes and territories endlessly throughout my playthrough and was always amazed at the scope of the world with every stride. The world’s dynamism in response to your actions, whether they be calculated or mistaken, is truly enthralling, keeping the player in its grasp to see how much they can make Pharloom quake, or if its residents can be saved.
Of course, I’d additionally be mistaken to ignore the combat. While Silksong finds its excellence in perilous tomb-raiding and secret-searching, the enemy encounters and general feel of wielding Hornet’s needle is unmatched. There may be a measly adjustment period, finding your (aerial) footing once discovering the pogo-jumps so relied on in the original title are now diagonal slashes, but this new traversal only makes encounters feel more electric.
Mastering this foreign movement is essential to getting by on a journey defined by its exceptional difficulty and enemies that consistently deal double the damage of the first title. This has been a point of contention in the limited weeks since release, with players even releasing mods to alleviate some difficulty from this warmongering kingdom.
Personally, the difficulty treads a balance between infuriating and essential. For every area worthy (in your raging mind, anyway) of a controller-throw or a rage quit, the euphoria of conquering the next big bad will keep you hooked. The utter joy of defeating the likes of the First Sinner or the final act’s troublesome bouts is enough to keep this game in your cycle for years to come – particularly with DLC looming.
Ultimately, Team Cherry has given us something magical. While noticeably more flawed in some areas than its predecessor, the triumphs in every area or boss encounter are gaming all-timer moments that you or I won’t forget any time soon. Lore is sprawling and immense, the world is of an unimaginable scope, and the game is simply a blast. Good luck on your trek through this haunted kingdom.
Hollow Knight: Silksong is available now on all modern systems and playable as an Xbox Game Pass launch title.
