In 2026, the conversation around Hollow Knight: Silksong has settled into something unusual for a modern game: a quiet respect for its stubbornness. One player, a longtime fan of the original Hollow Knight, returned to Pharloom expecting the same warm glow of discovery that Hallownest had once offered. Instead, they found a sequel that felt less like an embrace and more like a dare. Silksong is obstinate, hostile, and utterly convinced of its own design. And after years of watching games bend to every patch note and fan complaint, that refusal to soften feels almost radical.

The original Hollow Knight had become one of the player's favorite games ever made. The moment they leaped into Hallownest, they were hooked by its world, and their fervor only grew as they surmounted each challenge. Silksong is different. It is mean, and not merely in the familiar sense of high difficulty. Benches constantly demand precious currency. Early-game bosses take out two chunks of health with every hit. Runbacks stretch patience thin, diagonal platforming segments are placed with trickster precision, and boss fights have a habit of spamming extra enemies into the arena. These choices are not simply hard; they are hostile, demanding a kind of patience that goes beyond learning a boss's attack patterns.

Would this game have survived a focus group? The question practically answers itself. If Silksong had been run through the usual pre-release testing gauntlet, the long runbacks would have been flagged. The bench costs would have been called punitive. The extra enemies in boss fights would have been trimmed. The diagonal platforming would have been sanded into something safer. In an era of online fan feedback and frequent patches, games are increasingly shaped by their communities. Intentional design decisions are often jettisoned if fans do not respond well, even in acclaimed titles like Baldur's Gate 3. The player had recently loved the challenges of Wuchang: Fallen Feathers, but community complaints about hostile choices, such as an abundance of traps, led to patches that softened the game's aggression. Silksong, by contrast, feels like an unaltered vision.

Team Cherry, a core team of just three people, clearly did not build Silksong to be universally agreeable. The game's scope might fool a newcomer into expecting a polished corporate product, but playing it quickly highlights that it could never have come out of a major company. There is too much personality in its cruelty. Too much confidence in its awkward edges. The player found themselves asking: is this what it looks like when artists trust their own instincts more than they fear the review thread?

In some ways, it is refreshing to play a game so clearly committed to its vision. It has been frustrating to watch developers back down every time fans complain, sanding games down into a monotonous idea of what good design is supposed to be. Silksong does not do that. It demands more patience than breezing through the original Hollow Knight did, and whether the player will end up finding the experience as fun overall remains to be seen. Maybe it does not matter. Team Cherry made the game it wanted to make, and in 2026, that is worth something.

The player may not walk away loving Silksong as much as the first game. The hostility may wear thin. The bench currency may sting too often. But there is a strange gratitude in seeing a sequel that refuses to apologize for its own shape. In a year when so many games are polished into agreement, Silksong stands as a reminder that a kingdom can be hostile, beautiful, and unforgettable all at once. ?️⚔️

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