In late 1992, players who loaded Dune II: The Building of a Dynasty onto an IBM-compatible computer found themselves looking down upon a stretch of desert that seemed deceptively empty. Somewhere beneath the sand lay spice, the resource that made the planet Arrakis valuable. A harvester could be sent into the desert to collect it, but the machine might attract a sandworm. The spice could be converted into credits, the credits could build a refinery, factory, turret, tank, or new harvester, and those new machines could then be used to expand farther across the map or destroy an enemy base.
Nothing stopped while the player considered what to do next.
Enemy units moved. Harvesters continued working. Buildings produced machines. Attacks developed while the player was looking elsewhere. Strategy had traditionally given computer players time to think through their decisions, but Westwood Studios had built a game in which economic planning, base construction, exploration, production, and combat unfolded together.
Dune II was not the first computer game to contain strategy in real time, and calling it the first real-time strategy game erases a much more complicated history. What it did was arguably more important. Westwood assembled ideas that had appeared separately in earlier games and arranged them into a recognizable system of harvesting resources, constructing a base, producing military units, developing technology, exploring a partially hidden battlefield, and destroying an opponent who was doing much the same thing.
That combination became the foundation of the modern real-time strategy genre. Within only a few years its descendants would include Warcraft, Command & Conquer, Warcraft II, Age of Empires, StarCraft, and an entire generation of computer strategy games.
The strange part is that Westwood did not set out with a genre called “real-time strategy” waiting to be invented. In 1992, even the language for describing what the studio had created had not settled into place. Academic research into contemporary reviews has found that writers repeatedly struggled to categorize Dune II, describing it through combinations of strategy, simulation, wargaming, resource management, and games such as SimCity. The expression “real-time strategy” was not yet the standard label it would later become.
Westwood Before Arrakis
The company that made Dune II had spent years learning how to make games move.
Brett Sperry and Louis Castle built Westwood in Las Vegas after working as programmers and converting games between competing computer systems. Their company became particularly adept at taking games designed for one machine and reconstructing them for another, sometimes improving graphics, controls, sound, and presentation along the way. Through its relationship with Strategic Simulations, Inc., Westwood worked on several licensed Dungeons & Dragons projects, including Hillsfar, DragonStrike, and Eye of the Beholder.
That experience mattered. Westwood was not approaching strategy from the tradition of simply translating a tabletop wargame onto a computer screen. Its designers were increasingly interested in immediacy, graphical interfaces, mouse controls, animation, and making complicated systems understandable without forcing the player through layers of menus.
Years later, Sperry remembered thinking about whether the real-time qualities of Eye of the Beholder could be applied to strategy. His recollection placed the beginnings of the idea around 1989. According to him, several early attempts did not work, but the larger question remained: could the deliberate thinking associated with strategy games survive if the world refused to stop moving?
By 1992 Westwood itself was changing. Virgin Games acquired the company, which had previously operated as Westwood Associates, giving it access to greater financial and publishing resources. Westwood announced the relationship in the first issue of its own News & Notes newsletter that summer, with Sperry praising Virgin as a flexible publisher and explaining that the partnership would allow Westwood to pursue more ambitious projects.
On the third page of the same newsletter, Westwood offered readers a look at one of those projects.
It was called Dune II.
Why There Were Two Dune Games
The title has confused players ever since because Dune II is not really a conventional sequel.
Virgin was already publishing another adaptation of Frank Herbert’s universe, developed by the French company Cryo Interactive. Cryo’s Dune combined adventure, strategy, characters from Herbert’s story, and imagery associated with David Lynch’s 1984 film. Westwood’s project was developed separately and approached the property in a radically different way.
The exact sequence of events behind the two games has been retold differently by people involved with Virgin and Westwood. Later histories describe Virgin finding itself with two promising Dune projects and ultimately releasing both, with Westwood’s game becoming Dune II. Westwood’s own summer 1992 newsletter simply told customers that Virgin had recently released Dune I and described Westwood’s new project as “more a prequel than a sequel.” Whatever the internal negotiations, the important point is that the numeral did not indicate a normal continuation of Cryo’s story.
The games barely resembled one another.
Westwood stripped the setting down to a contest for control of Arrakis. Its manual explained that Emperor Frederick IV, an interpretation created for the game rather than a straightforward recreation of Herbert’s plot, was desperate for spice and had challenged three Great Houses to compete for the planet’s mining rights. Those factions were the Atreides, the Harkonnens, and the Ordos.
The Ordos were an especially important example of how freely Westwood adapted the setting. House Atreides and House Harkonnen came directly from Herbert’s novels. The Ordos name appeared only briefly in The Dune Encyclopedia, while the personality, military identity, icy homeworld, special weapons, and mercantile character familiar to players were developed largely for Westwood’s games.
This gave Westwood exactly what its strategy design needed: three recognizable sides competing for one scarce resource across a hostile landscape.
The Design Puzzle That Became Dune II
There is no single uncontested story explaining where Dune II came from.
Joe Bostic, officially credited with Aaron E. Powell as a designer and with Scott K. Bowen as a programmer, later remembered that Westwood wanted something roughly combining Populous and Civilization. He also acknowledged gameplay ideas the developers liked in Sega’s Herzog Zwei. In a later interview he expanded the list to include Military Madness and recalled the simple childhood fantasy of moving toy soldiers around a sandbox.
Other recollections place different weight on those influences. Brett Sperry emphasized his experiments with the real-time qualities of Eye of the Beholder, resource management, and an interface that kept the action concentrated on one main screen. Later Westwood accounts also mentioned games such as Populous, Military Madness, and Rescue Raiders. Virgin executive Stephen Clarke-Willson, meanwhile, remembered Herzog Zwei being played in Virgin’s offices and attached greater importance to it in the publisher’s thinking about a Dune strategy game.
The differences are not necessarily proof that one person remembered correctly and everyone else was wrong. Game development at Westwood was collaborative, influences overlapped, and many of these recollections were recorded years after the project. What survives suggests that Dune II emerged from several streams of design thinking rather than one moment of invention.
Even Bostic’s recollection of the central resource system makes the process sound less like the execution of a grand blueprint and more like developers discovering the game as they made it. He remembered that tanks fighting and factories producing machines did not provide enough structure, so the developers needed something worth fighting over.
The solution was sitting in the fiction already.
Spice.
Once spice became the economic foundation of the battlefield, the pieces began locking together. A player had to seek spice fields, protect harvesters, earn credits, decide whether those credits should fund military expansion or new infrastructure, and eventually attack an opponent competing for the same strategic space. The fiction of Dune and the mechanics of the game suddenly reinforced one another.
Harvest, Build, Defend, Attack
The basic rhythm that emerged now feels so familiar that it is difficult to imagine a time when it was not one of gaming’s standard languages.
A mission began with limited territory and equipment. The player established a base, constructed facilities, sent harvesters onto the sand, accumulated credits, expanded production, and created a military force. More advanced buildings unlocked stronger technology. Power had to be maintained. Damage had to be repaired. Units had to be sent across the map individually. Enemy territory had to be uncovered by exploration.
The player was constantly deciding how to spend the next portion of spice income.
Another refinery could increase economic output. A new factory might allow stronger units. Defensive turrets could protect the base, but the same money might instead produce tanks capable of destroying the enemy before those defenses were necessary. Expanding too quickly could leave the base exposed. Waiting too long allowed the enemy economy to grow.
All of it happened while the battle continued.
Contemporary advertising summarized the experience in remarkably direct language, telling players they would “control all aspects of combat and construction,” build installations, consult their Mentat, and conquer Arrakis. The game’s manual went considerably further, providing descriptions of structures, vehicles, weapons, factions, and the economic rules that held the system together.
Many features that later became smoother in other RTS games were still awkward here. There was no drag-selecting a large army and sending it forward with one command. Units were normally selected and ordered individually through the interface, forcing the player to bounce repeatedly between the battlefield and commands. Later RTS designers would immediately recognize the problem and improve upon it.
That awkwardness is historically useful. Dune II does not feel like a genre perfected. It feels like a genre being assembled.
Three Houses, Three Ways To Fight
Westwood also understood that choosing a faction should mean more than changing the color of the player’s units.
House Atreides, House Harkonnen, and House Ordos shared much of the same fundamental technology, but each received its own identity, Mentat adviser, specialized equipment, and battlefield advantages. The differences were not as extensive as those that later defined games such as StarCraft, yet the principle was already present.
The Atreides could eventually field the Sonic Tank and call upon Fremen assistance. The Harkonnens possessed heavy weapons such as the Devastator and the destructive Death Hand missile. The Ordos relied on unusual tools including the Deviator, whose warhead could temporarily turn enemy vehicles against their owners, and the Saboteur.
The manual did more than describe statistics. It gave each House a personality. The Atreides represented honor and relative restraint. The Harkonnens were brutal and militaristic. The Ordos were presented as wealthy traders willing to use manipulation, sabotage, and unconventional weapons.
That distinction gave players a reason to replay the campaign and also demonstrated another principle that became increasingly important to later RTS design: two players could obey the same fundamental economic rules while possessing very different strategic tools.
The Desert Was Part Of The Enemy
Arrakis itself also mattered.
The desert was not decorative background. Spice fields determined where harvesters had to travel, rocky ground shaped where structures could be placed, and the open sand contained one of the game’s most memorable threats.
Sandworms.
A harvesting operation could be functioning normally until the ground began to move. A valuable vehicle sitting on exposed sand might simply disappear into the mouth of a worm, turning the setting’s most famous creature into a mechanical threat to the player’s economy.
That interaction is one reason Dune II worked as more than a generic wargame with a famous name attached. Westwood did not reproduce Herbert’s story with great fidelity, but it translated several of the universe’s fundamental ideas into systems. Spice was valuable because the player needed it. Arrakis was dangerous because the environment could destroy equipment. Rival Houses fought because control of spice meant control of power.
Even the campaign map reinforced the sense of a planetary war. Victories allowed the player to advance across Arrakis, choosing territories and gradually painting more of the world in the color of the chosen House.
The narrative was simple, but the player’s growing control of the map made conquest visible.
The Sound Of Arrakis
The game’s atmosphere depended heavily on sound.
Frank Klepacki was still near the beginning of his career when he worked on Dune II. The official credits list Paul Mudra as music and sound director, with Klepacki and Dwight Okahara responsible for music and sound. Several Westwood staff members also contributed digitized voices.
Klepacki later recalled drawing inspiration from both the music associated with the 1984 Dune film and the soundtrack of Cryo’s Dune, while still being encouraged to create something of his own. The technical limitations of early PC audio required him to work creatively with FM synthesis, changing instruments, tempos, and transitions within a restricted number of sound channels.
The result was more important than background music. Machines rumbled across the desert, structures collapsed, units acknowledged commands, infantry screamed, and the score helped give long stretches of harvesting and construction a constant sense of motion.
When Allen L. Greenberg reviewed the game for Computer Gaming World in April 1993, he drew particular attention to the continuous activity, digitized effects, and music. He ultimately described the game as a remarkably successful adaptation even though Westwood had removed much of the novel’s character-centered plot, morality, and mysticism.
What Players Saw In 1992 And 1993
One of the most interesting things about Dune II is that its historical importance was not immediately understood in the language later attached to it.
Westwood itself called the game a “strategy simulation” in its 1992 newsletter. Contemporary reviewers compared it with existing strategy games, wargames, simulations, and SimCity. Some noticed its unusual combination of systems without declaring that an entirely new genre had suddenly appeared.
That should not be surprising. Genres are often named after their conventions have already begun forming.
Players did recognize that the game was unusually compelling. Reviews across PC and Amiga magazines were generally strong, and Computer Gaming World gave it one of the most significant contemporary honors when the magazine selected Dune II as its 1993 Strategy Game of the Year. The editors credited designers Aaron E. Powell and Joe Bostic and praised the game’s combination of fast action, graphics, sound, and challenging scenarios, noting that it could attract both action and strategy players.
That crossover quality was central to what Westwood had accomplished. Dune II demanded strategic thinking, but it did not present strategy as a slow procession of turns and abstract counters. Tanks moved across a graphical battlefield. Missiles crossed the screen. Harvesters crawled through spice. Buildings rose directly from the player’s base.
The strategy could be watched happening.
Was Dune II The First Real-Time Strategy Game?
No simple answer does the history justice.
Earlier games had already experimented with real-time strategic command, resource systems, territory, military production, and related ideas. Herzog Zwei is one of the most commonly cited predecessors. Other discussions of the genre reach farther back to computer wargames, Utopia, Cytron Masters, Stonkers, Nether Earth, Populous, and other games that explored portions of what later became the RTS form.
For that reason, describing Dune II as the first strategy game to operate in real time goes too far.
Describing it as historically ordinary goes too far in the other direction.
Game scholar Simon Dor’s study of RTS history emphasizes that genres emerge through a process rather than beginning cleanly on the release date of one game. Dune II belongs inside that longer evolution, but its particular combination of a mouse-driven interface, real-time combat, resource harvesting, technology progression, base construction, unit production, battlefield exploration, and opposing factions proved extraordinarily reproducible.
That is why the safest historical description is also the most meaningful one.
Dune II established the design vocabulary of the modern RTS.
From Arrakis To Warcraft
The evidence becomes especially strong when looking at what happened next.
At the company then known as Silicon & Synapse, soon to become Blizzard Entertainment, programmer Patrick Wyatt and his colleagues were enthusiastic Dune II players. Wyatt later wrote openly that the team’s motivation was to create a real-time strategy game modeled after Westwood’s work.
The relationship was direct enough that early development of Warcraft: Orcs & Humans used graphics taken from Dune II as temporary stand-ins while Blizzard’s own artwork was still unavailable. More importantly, Blizzard’s designers began solving limitations they had encountered in Westwood’s interface.
One of the most obvious was unit selection.
Dune II required the player to manage units one at a time. Wyatt had experience with drafting software that allowed a user to drag a rectangle around multiple objects. Applying that idea to an RTS battlefield produced one of the genre’s most important control improvements: selecting a group of units at once.
When Warcraft: Orcs & Humans appeared in 1994, it was not merely another strategy game released after Dune II. It belonged to a rapidly forming family of games whose conventions Westwood had helped make legible.
Blizzard would eventually push that lineage through Warcraft II and StarCraft, while countless other studios developed their own variations.
From Dune II To Command & Conquer
Westwood itself was already thinking about the next step before Dune II was completely finished.
Brett Sperry later described Dune II as a prototype or precursor to Command & Conquer. He loved what the studio had created but believed the controls still needed another generation of refinement. Instead of repeatedly moving between a selected unit and a command menu, Westwood could make the mouse more context-sensitive, allowing the same interface to understand whether the player wanted to select, move, or attack.
Joe Bostic remembered the same desire to move beyond Dune II, particularly through a smarter mouse interface. Other ideas followed: multiplayer, a more contemporary military setting, extensive cinematics, and the fictional conflict between the Global Defense Initiative and the Brotherhood of Nod.
The result arrived in 1995 as Command & Conquer.
By then the structure first tested on Arrakis had become recognizable enough to carry into an entirely different universe. Tiberium replaced spice. Refineries replaced spice-processing facilities. Harvesters still ventured into contested territory and returned resources to the player’s economy. Bases expanded outward. Factories produced armies. Technology opened new possibilities. The enemy economy grew while the player was busy managing his own.
The details changed, but the rhythm survived.
The Game That Became A Language
Looking at Dune II more than three decades later creates a strange effect.
Some of it feels primitive. Selecting armies one unit at a time is cumbersome. Artificial intelligence can be exploited. Missions often settle into long contests of harvesting, production, and attrition. Later games improved almost every part of the formula.
Yet those improvements are precisely why Dune II matters.
A modern player can look at the screen and immediately understand concepts that were still being assembled when Westwood made the game. There is a base. There are resources. Resources fund buildings. Buildings produce units. Certain structures unlock stronger technology. The map begins partly unknown. An enemy base exists somewhere beyond the player’s immediate vision. Success depends upon building an economy quickly enough to create military power before an opponent does the same thing.
That language spread far beyond Westwood.
Warcraft used it. Command & Conquer refined it. Age of Empires moved it into historical settings. StarCraft made faction differences far more radical and helped turn competitive RTS play into an international phenomenon. Other games stretched the formula toward grand strategy, tactics, economic simulation, fantasy, science fiction, and multiplayer competition.
Not every idea belonged originally to Dune II, and the developers themselves remembered different influences. That complicated history is more interesting than the myth of a genre appearing from nowhere.
Westwood’s achievement was synthesis.
The studio took pieces that already existed, added ideas of its own, connected them through an unusually effective economic and military cycle, and placed the entire system on a desert planet where one resource was important enough to justify an endless war.
The spice had to flow.
So did the game.
Why Dune II Still Matters
When Westwood advertised Dune II in 1992, it was selling a new Dune game, not announcing that a major branch of video game history was about to grow from it. Even Westwood’s own newsletter described the project modestly as a strategy simulation in which three Houses competed for control of Arrakis.
Within a few years, the consequences were obvious.
Blizzard had used it as a model for Warcraft. Westwood had turned its lessons into Command & Conquer. Developers across the industry were building variations on the same basic relationship between economy, construction, technological growth, map control, and continuous warfare.
The game’s influence ultimately matters more than the argument over whether it deserves to be called the first RTS.
Earlier games helped make Dune II possible. Later games made its ideas more flexible, more accessible, and more sophisticated. Dune II stands between them as the point where scattered experiments hardened into a structure that other designers could recognize, imitate, and improve.
That is its place in video game history.
Not the beginning of strategy in real time, but the moment real-time strategy began to look like itself.
Sources & Further Reading
Westwood Studios. Dune II: The Building of a Dynasty. Game manual. 1992. https://trwglibsccninuamefls.supabase.co/storage/v1/object/public/assets/dune-2/dune-2.pdf
Johnson, Soren. “Designer Notes Episode 19: Louis Castle.” Designer Notes, June 15, 2016. https://www.idlethumbs.net/designernotes/episodes/louis-castle
Bostic, Joe. “Joe Bostic Interview.” Interview by FED2k. April 9, 2002. https://forum.dune2k.com/topic/1899-joe-bostic-interview/
Clarke-Willson, Stephen. “The Origin of Realtime Strategy Games on the PC.” Above the Garage, 1998. https://www.above-the-garage.com/blog/1998/8/18/the-origin-of-realtime-strategy-games-on-the-pc
Horowitz, Ken. “Interview: Dr. Stephen Clarke-Willson.” Sega-16, March 28, 2006. https://www.sega-16.com/2006/03/interview-dr-stephen-clarke-willson/
“The Making of… Dune II.” Edge, no. 196, 2008. Video Game History Foundation Library. https://library.gamehistory.org/repositories/2/resources/30
Geryk, Bruce. “A History of Real-Time Strategy Games.” GameSpot, 2001. Archived transcription. https://groups.google.com/g/fido7.su.game.strategy/c/I6Qb_wvpxKw
Keighley, Geoff, and Amer Ajami. “A New Dawn: Westwood Studios 15th Anniversary.” GameSpot, 2000. Referenced and preserved through later historical scholarship. https://journals.sagepub.com/doi/10.1177/13548565251404978
Retro Gamer. “Command & Conquer/Westwood Retrospective.” No. 48, 2008. https://electronicsandbooks.com/edt/manual/Magazine/R/Retro%20Gamer%20UK/48.pdf
Retro Gamer. “Westwood Studios History.” No. 90, 2011. https://electronicsandbooks.com/edt/manual/Magazine/R/Retro%20Gamer%20UK/90.pdf
Barnes, Adam. “The History of Dune.” Retro Gamer, no. 228. https://pocketmags.com/us/retro-gamer-magazine/issue-228/articles/the-history-of-dune
Legg, Mike. “Mike Legg Interview.” Interview by Arcade Attack. https://www.arcadeattack.co.uk/mike-legg/
Gush, Rick. “Writing for Westwood Studios.” Interview by The Genesis Temple. https://genesistemple.com/interview-with-rick-gush
Klepacki, Frank. “Interview with Frank Klepacki.” Video Game Music Online. https://vgmonline.net/frankklepackiinterview/
Klepacki, Frank. “Dune II.” Official Soundtrack Archive. https://www.frankklepacki.com/ost/vg/dune-2
Klepacki, Frank. “About.” Official Biography. https://www.frankklepacki.com/about
Westwood Studios. “Dune II: The Building of a Dynasty Promotional Material.” 1990s. Preserved by MobyGames. https://www.mobygames.com/game/241/dune-ii-the-building-of-a-dynasty/promo/
Westwood Studios and Virgin Games. Dune II: The Building of a Dynasty advertisement. Computer Gaming World, no. 99, October 1992. Preserved by MobyGames. https://www.mobygames.com/game/241/dune-ii-the-building-of-a-dynasty/promo/
Sperry, Brett. Interview. Génération 4, no. 47, September 1992, 142. Indexed by Abandonware France. https://www.abandonware-france.org/compagnies/westwood-19/
Sperry, Brett. Interview. The One, no. 49, October 1992, 25. Indexed by Abandonware France. https://www.abandonware-france.org/compagnies/westwood-19/
Legg, Michael, and Rick Parks. Interview. PC Games, December 1992, 20. https://www.abandonware-france.org/compagnies/westwood-19/
Legg, Michael. Interview. Play Time, December 1992, 112. https://www.abandonware-france.org/compagnies/westwood-19/
Gush, Rick, and Brett Sperry. Interview. Génération 4, no. 52, February 1993, 98. https://www.abandonware-france.org/compagnies/westwood-19/
Castle, Louis, Rick Gush, and Brett Sperry. Interview. PC Player / Multimédia PC, no. 4, March 1993, 66. https://www.abandonware-france.org/compagnies/westwood-19/
“Dune II.” Preview. Computer Gaming World, no. 101, December 1992, 102. https://www.abandonware-france.org/ltf_abandon/ltf_jeu.php?fic=medias&id=22
Greenberg, Allen L. “Weapons, Spice, and Everything Vice: A Review of Virgin/Westwood’s Dune II.” Computer Gaming World, no. 105, April 1993, 84. Video Game History Foundation. https://archive.gamehistory.org/item/b53a9881-40a6-4595-b694-993680a913e2
James, Jeff. “Arrakaholics Anonymous: A Twelve Step Guide to a Happier, Healthier Harkonnen.” Computer Gaming World, no. 106, May 1993. Video Game History Foundation Library. https://library.gamehistory.org/subjects/23?page=125
“Westwood Studios Partnership Hits Jackpot.” Computer Gaming World, no. 109, August 1993. Video Game History Foundation. https://archive.gamehistory.org/search?names=Golden+Empire+Publications%2C+Inc
Computer Gaming World. “Game of the Year Awards.” No. 111, October 1993. https://www.cgwmuseum.org/galleries/issues/cgw_111.pdf
“Conception: Dune II.” The One, no. 52, January 1993. https://www.abandonware-france.org/ltf_abandon/ltf_jeu.php?fic=medias&id=22
Byron, Simon. “Dune II.” The One, no. 58, July 1993. Referenced in Jimmy Maher’s historical reconstruction. https://www.filfre.net/2018/12/controlling-the-spice-part-3-westwoods-dune/
Gill, Tony. “Review: Dune II.” CU Amiga, July 1993. https://en.wikipedia.org/wiki/Dune_II
Winstanley, Mark. “Dune 2: The Battle for Arrakis.” Amiga Power, no. 28, August 1993, 44–45. https://www.kinephanos.ca/2014/real-time-strategy/comment-page-1/
“ProReview: Dune: The Battle for Arrakis.” GamePro, no. 53, December 1993, 82. https://en.wikipedia.org/wiki/Dune_II
“Review Crew: Dune.” Electronic Gaming Monthly, no. 54, January 1994, 44. https://en.wikipedia.org/wiki/Dune_II
Maher, Jimmy. “Controlling the Spice, Part 3: Westwood’s Dune.” The Digital Antiquarian, December 2018. https://www.filfre.net/2018/12/controlling-the-spice-part-3-westwoods-dune/
Moss, Richard. “Build, Gather, Brawl, Repeat: The History of Real-Time Strategy Games.” Ars Technica, September 15, 2017. https://arstechnica.com/gaming/2017/09/build-gather-brawl-repeat-the-history-of-real-time-strategy-games/
Dor, Simon. “A History of Real-Time Strategy Gameplay from Decryption to Prediction: Introducing the Actional Statement.” Kinephanos, 2014. https://kinephanos.ca/Revue_files/2014-Dor.pdf
Ganzon, Sarah Christina, and Marc-André Lajeunesse. “Simulating Desert Power: Dune Games, Real-Time Strategy, and the Postcolonial Legacies of Lynch’s Dune.” 2025. https://journals.sagepub.com/doi/10.1177/13548565251404978
Loguidice, Bill, and Matt Barton. “Dune II: The Building of a Dynasty (1992): Spicing Up Strategy in Real Time.” In Vintage Games. Burlington, MA: Focal Press. https://www.oreilly.com/library/view/vintage-games/9780240811468/13_chapter06.xhtml
The Encyclopedia of Science Fiction. “Dune II: The Building of a Dynasty.” https://sf-encyclopedia.com/entry/dune_ii_the_building_of_a_dynasty
MobyGames. “Dune II: The Building of a Dynasty.” https://www.mobygames.com/game/241/dune-ii-the-building-of-a-dynasty/
Video Game History Foundation. “Computer Gaming World Collection.” Game History Library. https://archive.gamehistory.org/search?names=Golden+Empire+Publications,+Inc
CGW Museum. “Computer Gaming World, Issue 105.” https://cgwmuseum.org/galleries/index.php?id=105&pub=2&year=1993
Abandonware France. “Dune II: Press and Magazine Archive.” https://www.abandonware-france.org/ltf_abandon/ltf_jeu.php?fic=medias&id=22
Abandonware France. “Westwood Studios: Press and Interview Index.” https://www.abandonware-france.org/compagnies/westwood-19/