Diablo 4: 10 Huge Things It Must Fix From 3

Both Diablo and Diablo II were more than just hack-and-slash RPGs; they were very dark games that featured genuinely nerve-wracking and eerie ambience. Both games’ scores did more than make you excited about playing a game; they really pushed the idea of a bleak, demon-infested world where you were the only hope of salvation.

There are some players who enjoy a game for the background and the sense of fear or atmosphere just as much as the actual gameplay, which was sorely lacking in Diablo III. For an ideal comparison, let’s look at the opening themes to each game. Both Diablo I and II had ominous, low, eerie music that emphasised the ‘evil’ elements of the game; whereas III featured a more ‘epic’ score that was more about battling and less about the struggle of good vs. evil in the game’s universe.

Without the work of maestro Matt Uelman, music-wise Diablo III fell flat. The score lacked depth of different sounds that made each act identifiable and dungeons didn’t feel scary, even though that’s supposed to be the point of a single player wandering in the dark to fight evil. If the musical score for Diablo IV were to be composed by Mr. Uelman, it's guaranteed that it would be much closer to the original, dark atmosphere that made Diablo famous.

That alone will be incentive enough for some former fans to return to the franchise.