Like the Monastery intro which eventually became the second part of our Diablo II title screen, this is a good example of how NOT to pace game action music. You may notice an instrument which makes it nowhere else into this little game -- the cla
Like the Monastery intro which eventually became the second part of our Diablo II title screen, this is a good example of how NOT to pace game action music. You may notice an instrument which makes it nowhere else into this little game -- the cla
The Diablo universe is many things, but funky is not one of them. Like much of the music found in Act II, this piece is based on samples of Chinese and Indian instruments, with the spotlight going to a four-bar tabla loop. The flowing triplet pat
The Diablo universe is many things, but funky is not one of them. Like much of the music found in Act II, this piece is based on samples of Chinese and Indian instruments, with the spotlight going to a four-bar tabla loop. The flowing triplet pat
After using so many strange and exotic musical elements in this section of the game, I wanted to make sure players did not feel like they had left the Diablo universe entirely. The presence of the undead always seems to call for the ethereal qualitie
After using so many strange and exotic musical elements in this section of the game, I wanted to make sure players did not feel like they had left the Diablo universe entirely. The presence of the undead always seems to call for the ethereal qualitie
Even though this track uses many of the elements which ended up being quite successful in the rest of the first Act, it still had more than enough problems to earn its place in the great musical recycle bin. Though I liked the sound of the mandolin,
Even though this track uses many of the elements which ended up being quite successful in the rest of the first Act, it still had more than enough problems to earn its place in the great musical recycle bin. Though I liked the sound of the mandolin,
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