Audio Content for Diablo and Diablo 2: Tools, Teams and Products by Matt Uelmen [05.15.01] Diablo and its sequel have established themselves as two of the most commercially successful and influential PC games of the past decade. This article discusses some of the nuts and bolts of one particular aspect of the development of this series: music and sound effects.

Adaptive Music by Andrew Clark [05.15.01] Despite the title "Adaptive Music," this feature doesn't talk about music at all -- except by analogy. Because language is much easier than music to demonstrate and discuss in the written medium, Andrew Clark delves into adaptive art by exploring the world of interactive poetry. Writing adaptive poetry sounds impossible, doesn't it? It's essentially the same challenge that an adaptive music composer faces…

The Sound of Money (Down the Potty): Common Audio Mistakes in Kids' Games by The Fat Man, George Alistair Sanger [05.15.01] Do you make games for young kids? Would you like to know how you can stop flushing a whole load of cash right down the crapper? The most important point that gets missed is this: the person who buys the game (the parent) only experiences the game through the audio. Assuming that the game installs easily and that the kid can play the game mostly by him- or herself, and that the kid pretty much likes the game, all of the customer satisfaction, everything the buyer experiences, all of the motivation to buy the next product -- comes from the audio. The parents do not see or play the game. They hear it.

Interactive Music Sequencer Design by Scott Patterson [05.15.01] Interactive music sequencer design for games is a real mouthful -- or rather an earful -- and a pretty large topic to boot. Scott Patterson addresses some of the design issues in making a computer music language, and the issues related to providing interactive music functions for game control.

An Interview with Darryl Duncan by Aaron Marks [05.15.01] It's very refreshing to find someone who takes advantage of their own creative forces, ignoring the 'rules' and going with their gut instinct to produce their craft within an industry which often places too much value on credentials. While Darryl has the qualifications, he doesn't fall to them to deliver the goods. In just two short years, Darryl's company has amassed quite a resume' of titles including Madden 98, 99 and 2000, Ultima Online Third Dawn, and Knockout Kings 2002.

Interactive Music...er, Audio by Rob Ross [05.15.01] Why is it that these two little words "interactive audio" seem to be near the top of so many developers bad_word.lst file? This article endeavors to appease the Knights who say "interactive audio" with a Shrubbery so that developers everywhere may pass through the tangled aural forest and into the glen of sonic bliss!

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Game Audio Gallery: Tommy Tallarico

Tommy Tallarico is the most successful and accomplished video game composer in history. He has helped revolutionize the video game industry and has shown time and again his ability to create unique soundtracks that truly enhance the overall gaming experience. His music has been heard by hundreds of millions of people all over the world on mediums such as video games, television, motion pictures, radio, soundtracks and even on floats in the New Year's Day Rose Bowl parade in Pasadena.
Think you've got what it takes for the Game Audio Gallery? [Contact the editors.]