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You are judging an image which is merely an edit of a screenshot and should be considered more of a concept art, while completely overlooking the principal aspect which is the tone and depth. I'm no " D2 nostalgist" and by that I mean I did play D2 a lot but hardly as much as most of the D2 veterans have but I too feel that this image designates the flaw in D3 art style spot on. the ostensibly open and sweeping Desert-track from D2 feels like the sands around you want to literally swallow you up, secret-cave-from-Aladdin-style, you know you're in for a grim experience. It's much of the idle string-instrument strumming, the oppressive bits of semi-random percussion in the ambient tracks, and just generally the mixing/mastering being very echoing and hollow throughout - that last bit in particular lends the truly dark and oppressive feel to everything. I wholeheartedly agree that the sound design and especially the soundtracks are what seal the deals for Diablo 1 and 2. Korb essentially "invented new genre-mashups" to fit the rather, hmmh, unique aesthetics and feels of each of Supergiant's games.īut I digress. On the note of game soundtrack composers who have that special spark of genius, I'd also like to mention Darren Korb (Supergiant Games' composer Bastion, Transistor, and Pyre). several oriental string and percussion instruments), but what's even more remarkable is that Uelmen apparently played and recorded every instrument for the piece by himself.

There's an often-repeated bit of triva about Uelmen and the Tristram theme in particular from the original Diablo (which is simply called Town): the song consists of like 13-or-so different instruments, each more unusual than the next (e.g.

His music, as well as Mark Morgan's score for Planescape: Torment, are basically what made me appreciate game music as a stand-alone concept. Last updated at 14:00:17 UTC Weekly Help Desk RAGE Loot Thread Trade Thread