Long before Frank Klepacki became associated with marching boots, distorted guitars, military radio chatter, and the sound of armies colliding across a computer screen, he was a drummer growing up in Las Vegas.
Music surrounded him early. Klepacki later recalled that his parents were musicians and that he received his first drum set when he was eight years old. By eleven he was already playing professional gigs. Drumming gave him a foundation in rhythm, but by high school he wanted to do something a drummer could not easily accomplish alone. He wanted to write complete songs. That pushed him toward guitar and keyboards, recording equipment, and eventually the computers that were beginning to transform both music and games.
Klepacki became fascinated with recording while making demos with bands. At home, he experimented with programming music in BASIC on a Tandy 1000. The combination of musicianship, recording knowledge, and an interest in computers arrived at exactly the right time. While still in school, he found part-time work testing games at Westwood Studios in Las Vegas. Through that job he met the people responsible for Westwood’s sound and music, showed them what he had been creating, and received an opportunity to prove that he could contribute professionally. After high school, the testing job became the beginning of a career.
Westwood itself was still a relatively young company. Brett Sperry and Louis Castle had founded Westwood Associates in 1985, initially handling contract and conversion work before expanding into original games. By the early 1990s, the Las Vegas studio was becoming known for role-playing games and adventures, particularly Eye of the Beholder. The Strong National Museum of Play’s Westwood collection traces the company from those early years through its 1992 acquisition by Virgin Interactive and preserves original slides and production material from the period in which Klepacki was developing as a composer.
Learning to Compose Within the Limits of Early Game Audio
Klepacki entered game music at a moment when composers could not assume that players would hear anything resembling a studio recording. Hardware limitations shaped the music from the beginning. Early sound cards offered a small number of voices, and composers frequently worked with FM synthesis, MIDI, and tightly restricted memory.
His first credited game scores appeared in 1991 on projects including DragonStrike for the Nintendo Entertainment System and Eye of the Beholder II: The Legend of Darkmoon for the PC. The following years brought Dungeons & Dragons: Warriors of the Eternal Sun, Order of the Griffon, The Legend of Kyrandia, and increasingly ambitious work inside Westwood.
Those technological restrictions became part of Klepacki’s education. He later remembered manually programming frequent instrument changes, tempo changes, time signatures, and musical transitions in an attempt to make limited hardware sound more dynamic than it really was. Instead of treating technical limitations as a reason to simplify his compositions, he often tried to push against them.
That experience mattered because the games themselves were changing quickly. Westwood was moving from the dungeons and fantasy landscapes of its earlier titles toward a form of strategy game that would help reshape PC gaming.
Dune II and the Sound of a New Kind of Strategy Game
In 1992 Westwood released Dune II: The Building of a Dynasty, also known in some markets as Dune II: Battle for Arrakis. The game was not the first computer game to contain real-time strategic ideas, but it became one of the foundational titles that established the recognizable template of the modern real-time strategy genre. Players harvested resources, constructed bases, produced units, and commanded armies in real time, creating a structure that Westwood and other developers would expand throughout the 1990s.
Klepacki supplied an original score and also performed voices associated with House Harkonnen and the Emperor. His music had to help transform Frank Herbert’s desert world into an interactive battlefield while working within the audio limitations of early 1990s computers.
The project also became an important marker in his growth as a composer. Years later, when Westwood returned to the setting with Dune 2000, Klepacki had access to technology that allowed him to revisit musical ideas he had first created under much tighter restrictions. He later described the newer score as the realization of ideas that could not be fully expressed in the earlier hardware environment.
That difference between Dune II and Dune 2000 captures a larger change in video game history. During the same decade, game music was moving from sequences generated by computer sound hardware toward recorded and streamed audio that could begin to compete with other forms of commercial music. Klepacki’s career unfolded across that transition.
Finding the Sound of Command & Conquer
The decisive change came with Command & Conquer.
Released by Westwood in 1995, the game took many of the strategic ideas explored in Dune II and placed them inside a near-future military conflict between the Global Defense Initiative and the Brotherhood of Nod. Its full-motion video briefings, rapid action, memorable units, and accessible interface helped make it one of the defining real-time strategy games of the decade.
Its music was equally unusual.
By then, Klepacki was no longer forced to construct everything around the same restrictions that had governed his earliest work. Streamed digital music gave Westwood an opportunity to use richer recordings and contemporary synthesizers. Instead of simply providing a conventional military score, Klepacki was encouraged to experiment.
The result drew from industrial music, rock, metal, funk, techno, ambient electronics, sampling, and cinematic scoring. Tracks could sound mechanical and aggressive in one mission, atmospheric in another, and unexpectedly funky in the next. Klepacki later explained that Westwood’s leadership encouraged him to explore widely and find out what worked rather than imposing a narrow musical formula from the beginning.
That freedom helped make the soundtrack inseparable from the personality of the game. Pieces such as “Act on Instinct,” “Industrial,” “No Mercy,” and “Mechanical Man” did more than fill silence between explosions. The music reinforced the strange mixture of contemporary warfare, science fiction, propaganda, and exaggerated military spectacle that defined Command & Conquer.
Klepacki even became part of the game’s audible cast. In addition to composing the score, he supplied the voice of the Commando, whose short battlefield responses became another recognizable piece of the series.
The soundtrack also demonstrated that game music could have a life outside the game. Westwood released music from its projects on physical soundtrack albums, an idea Klepacki credited to audio director Paul Mudra and Westwood’s marketing operation rather than to himself. What surprised him was how strongly players responded. He had approached many pieces almost as standalone songs that also happened to function as game music, and listeners began treating them that way.
Hell March and the Music of Red Alert
If Command & Conquer established Klepacki’s style, Command & Conquer: Red Alert turned one piece of that style into something much larger.
The creation of “Hell March” began with an unusually simple idea. Klepacki later recalled driving to work and thinking that marching soldiers could provide the beat for a song. When he reached the studio, he picked up a guitar and found the riff that would become its musical center. He has said that the original track came together in roughly half a day.
At first, the piece was not intended to become the identity of Red Alert. Klepacki thought he was writing something that could fit the Brotherhood of Nod in the existing Command & Conquer universe. Instead, Westwood was preparing a different game, an alternate history conflict between the Allies and Soviet Union. Westwood leadership heard the piece and recognized that the combination of marching troops, shouted military sounds, industrial rhythm, and heavy guitar fit the new project. “Hell March” became the theme.
That decision helped give Red Alert an immediate musical identity. The soundtrack retained the experimental DNA of the first Command & Conquer, but Klepacki began refining the approach. The fictional Soviet and Allied forces could be distinguished partly through musical character, with heavier material associated with one side and more electronic or groove-oriented textures appearing elsewhere.
The response exceeded what Klepacki had expected from a video game soundtrack. His official career archive records awards from both PC Gamer and GameSlice for the Red Alert score in 1996. More importantly, “Hell March” survived the particular game for which it had been written. It returned in later installments, entered concerts, inspired new arrangements, and became one of the compositions most closely associated with the entire Command & Conquer name.
Beyond Command & Conquer
Klepacki’s reputation became tied to Command & Conquer, but his work at Westwood was considerably broader.
During the 1990s he composed for the Legend of Kyrandia series, Lands of Lore, Monopoly, The Lion King, Dune 2000, and other projects that required him to move far beyond industrial rock. The fantasy games demanded atmospheric and medieval influences. The Lion King required both original material and adaptation of music associated with the film. Dune called for science fiction and desert atmosphere.
One of the clearest demonstrations of that versatility came with Westwood’s 1997 adaptation of Blade Runner.
Klepacki was already an admirer of Ridley Scott’s film and Vangelis’s score. Rather than simply applying his Command & Conquer style to the game, he worked to reproduce the sonic character of the movie, choosing synthesizer sounds intended to resemble those in the original score and recreating film themes by ear while adding new music that could coexist with them. His official credits describe the project as both an original score and a recreation of themes from the film. In 1998, the work received a GDC Spotlight Award for Best Original Game Score.
The variety mattered. A composer known chiefly for pounding industrial tracks was simultaneously writing fantasy, science fiction, orchestral, electronic, funk, and cinematic music. Klepacki has repeatedly described that range as one of the defining features of his career rather than a departure from it.
Tiberian Sun, Red Alert 2, and the Last Years of Westwood
As Westwood’s most famous series expanded, so did its musical world.
Command & Conquer: Tiberian Sun arrived in 1999 with a darker and more atmospheric vision of the future. Klepacki continued as a principal composer, with Jarrid Mendelson also contributing to the soundtrack. Rather than simply recreating the aggressive energy of the first game, the music reflected a world increasingly transformed by Tiberium, environmental collapse, advanced technology, and the renewed war between GDI and Nod.
Klepacki followed it with music for Tiberian Sun: Firestorm, Red Alert 2, and Yuri’s Revenge. His credits during the same period stretched across Nox, Emperor: Battle for Dune, Earth & Beyond, and Command & Conquer: Renegade.
Renegade offered an unusual opportunity because it transformed the strategy series into a first-person action game while returning to the timeline of the original Command & Conquer. Klepacki deliberately looked back toward the first soundtrack, revisiting familiar musical ideas while adding new material suitable for a game experienced from the battlefield rather than from above it. Contemporary coverage quoted him explaining that because Renegade was so closely connected to the original game, the first soundtrack became the foundation for his approach.
By then, however, Westwood itself was nearing the end of its history as an independent creative center.
Virgin had acquired the studio in 1992, and Electronic Arts acquired Westwood in 1998. In March 2003, the Las Vegas studio was closed, with some employees moving to EA’s Los Angeles operation while others remained in Nevada. The Strong National Museum of Play’s institutional history records the same progression from Westwood’s 1985 founding through the Virgin and Electronic Arts years and its end in 2003.
For Klepacki, the closing of Westwood did not mean leaving behind the people or ideas that had shaped his career.
Petroglyph and a New Beginning
A group of former Westwood developers established Petroglyph Games in Las Vegas after Westwood’s closure. The new studio carried with it considerable real-time strategy experience, including veterans who had worked on the original Command & Conquer. Klepacki joined Petroglyph and moved into the role of audio director, expanding his responsibilities beyond composing alone.
One of the first major opportunities could hardly have been better suited to him.
Petroglyph was selected to develop Star Wars: Empire at War for LucasArts. Klepacki, a lifelong Star Wars fan, later called it a dream project. As audio director he was responsible not only for original music but also for sound design, implementation, and the broader character of the game’s audio.
The difficulty was not simply making something that sounded impressive. Star Wars already possessed one of the most recognizable collections of music and sound effects in popular culture. Klepacki had to create new material that could exist beside John Williams’s music and the sound-design language associated with the films without feeling disconnected from them.
In a contemporary development diary, Klepacki described creating new creature, vehicle, environmental, interface, and combat sounds while studying the sound-design techniques associated with the films. He also composed new music for environments and situations not adequately covered by the original trilogy scores, while trying to match the orchestral placement, reverberation, and overall character of the existing musical world.
The job demonstrated how far his role had expanded since the teenager programming music on a Tandy computer. He was now overseeing the interaction of music, dialogue, sound effects, technology, and game design across an entire major production.
Petroglyph gave him further opportunities with Universe at War: Earth Assault, Panzer General: Allied Assault, Grey Goo, the 8-Bit strategy series, and other projects. In his development diary for Universe at War, he openly acknowledged looking back toward the high-energy style that listeners associated with his earlier Command & Conquer work while creating distinct musical and sound identities for entirely new factions.
Returning to Red Alert
Leaving Westwood did not permanently separate Klepacki from Command & Conquer.
When Electronic Arts developed Command & Conquer: Red Alert 3, Klepacki returned as a contributing composer. His official credits list additional music for the 2008 game, including its main theme, followed by additional work for Red Alert 3: Uprising in 2009.
That meant returning once again to “Hell March.”
By then, the original had accumulated more than a decade of history and expectations. Klepacki created “Hell March 3” while working outside the Westwood environment that had produced the first two games. He later explained that the new production was asked to remain relatively close in spirit to “Hell March 2,” rather than reinventing the theme from the ground up. The result became another chapter in a piece of game music that had started with the thought of marching footsteps during an ordinary drive to work.
The endurance of that music became increasingly visible in live performance. Klepacki performed game music with orchestral productions and eventually joined forces with the Tiberian Sons, a group known for arranging video game music. At MAGFest in January 2019, Frank Klepacki and the Tiberian Sons performed a full Command & Conquer concert containing music from the original game, Red Alert, Tiberian Sun, Renegade, Red Alert 2, and other entries in the series.
The music that had once been written for computer speakers was now being played to a live audience by a full band.
Command & Conquer Remastered and the Westwood Reunion
A larger reunion followed.
In 2018, Electronic Arts announced that the original Command & Conquer and Red Alert would be remastered. Rather than assign the job to a completely unrelated studio, EA partnered with Petroglyph, where several original Westwood developers were working.
EA’s announcement specifically identified veterans Joe Bostic, Steve Tall, and Mike Legg before addressing one of the most common requests coming from the fan community: bring back Frank Klepacki. He returned as composer and audio director for the project.
The Command & Conquer Remastered Collection was released in June 2020. Its audio became more than a simple cleanup of old files. EA described a remastered soundtrack running approximately seven hours, with more than twenty pieces newly recorded with the Tiberian Sons. The collection therefore preserved the original music while also documenting what those compositions had become after twenty-five years of audience memory, live performance, and reinterpretation.
There was a fitting symmetry to it. Klepacki was once again working with people connected to the original Command & Conquer, once again serving as the Commando’s voice, and once again dealing with music he had composed when digital game audio itself was still undergoing a technological revolution.
What had been contemporary game music in 1995 had become video game history.
From Dune II to Tempest Rising
Klepacki’s later career has continued to connect the history of real-time strategy with its modern descendants.
Petroglyph’s The Great War: Western Front in 2023 placed him in a very different historical setting. In 2024 he provided music for Petroglyph’s 9-Bit Armies: A Bit Too Far and composed for the Infernal faction in Frost Giant’s Stormgate. His official credits list an original score for Tempest Rising in 2025, a modern real-time strategy game whose presentation openly evokes the tradition established by games such as Command & Conquer.
The same year brought another remarkable connection to his past. Klepacki contributed additional music to Funcom’s Dune: Awakening. More than three decades after scoring Dune II, one of the games that helped establish the form of real-time strategy with which his name became so closely associated, he had returned once again to Arrakis.
That long arc makes Klepacki’s career unusually useful for understanding the history of game audio. He began when a composer had to think about the number of voices a sound card could produce. He lived through the move to streamed digital music, commercial soundtrack albums, surround sound, increasingly cinematic production, digital distribution, live video game concerts, and finally the preservation and remastering of the games on which he had worked decades before.
Why Frank Klepacki Matters to Video Game History
Frank Klepacki’s importance cannot be reduced to the fact that he wrote a famous song.
“Hell March” is the most recognizable shorthand for his career, but the larger story is the way his work followed and helped demonstrate the changing possibilities of video game sound. His earliest scores were created inside strict technical boundaries. Dune II placed him alongside a game that helped define modern real-time strategy. Command & Conquer gave him the freedom and technology to treat a game soundtrack as something closer to an album, combining industrial music, rock, electronics, sampling, funk, and cinematic scoring into a style that sounded unlike the conventional orchestral language many military games might have chosen.
At the same time, Kyrandia, Lands of Lore, Blade Runner, Dune, and Star Wars showed that he was never simply the composer of one industrial-rock formula. His career depended on adaptation, from recreating the atmosphere of Vangelis to finding new sounds that could sit beside John Williams.
There is also something distinctly Westwood about the story. Klepacki repeatedly credits the studio’s willingness to experiment. Developers, artists, designers, programmers, audio specialists, and musicians were working close enough together that a composer could arrive with a strange idea, play it for the team, and discover that it had become the musical identity of an entire game.
That culture disappeared when Westwood closed, but it did not vanish completely. Pieces of it continued through Petroglyph, through the former Westwood developers who remained in Las Vegas, and through communities that refused to let the games disappear. When Command & Conquer was remastered, the people restoring it were not simply reconstructing software. They were revisiting a creative environment that had helped define an era of PC gaming.
Klepacki’s music became one of the strongest surviving links to that era.
A player may forget the exact statistics of a tank, the layout of a multiplayer map, or the wording of a mission objective after thirty years. Then the marching begins, a guitar riff follows, and an entire moment in game history returns with it.
Sources & Further Reading
Klepacki, Frank. “About.” Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/about
Klepacki, Frank. “Credits.” Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/credits
Klepacki, Frank. “Command & Conquer.” Original Soundtracks. Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/ost/vg/cnc
Klepacki, Frank. “Command & Conquer: Red Alert.” Original Soundtracks. Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/ost/vg/cnc-ra1
Klepacki, Frank. “Command & Conquer: The Covert Operations.” Original Soundtracks. Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/ost/vg/cnc-tco
Klepacki, Frank. “Command & Conquer: Red Alert: Counterstrike.” Original Soundtracks. Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/ost/vg/cnc-ra1-cs
Klepacki, Frank. “Command & Conquer: Red Alert: The Aftermath.” Original Soundtracks. Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/ost/vg/cnc-ra1-tam
Klepacki, Frank. “Music Demos.” Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/listen/music-demos
Klepacki, Frank. “Press.” Frank Klepacki. Accessed October 27, 2026. https://www.frankklepacki.com/press
Castle, Louis, Frank Klepacki, Steve Wetherill, and Erik Yeo. “Classic Game Postmortem: Command & Conquer.” Presentation at the Game Developers Conference, San Francisco, 2019. GDC Vault. https://www.gdcvault.com/play/1025777/Classic-Game-Postmortem-Command-Conquer
Game Developer. “Video: A Classic Game Postmortem of Westwood Studios’ Command & Conquer.” April 11, 2019. https://www.gamedeveloper.com/design/video-a-classic-game-postmortem-of-westwood-studios-i-command-conquer-i-
Klepacki, Frank. “Star Wars: Empire at War Designer Diary #4: Audio in a Galaxy Far, Far Away.” GameSpot, 2006. https://www.gamespot.com/articles/star-wars-empire-at-war-designer-diary-4-audio-in-a-galaxy-far-far-away/1100-6143589/
Klepacki, Frank. “Star Wars: Empire at War: Forces of Corruption Designer Diary #5: The Sounds of Corruption.” GameSpot, 2006. https://www.gamespot.com/articles/star-wars-empire-at-war-forces-of-corruption-designer-diary-5-the-sounds-of-corruption/1100-6159916/
Klepacki, Frank. “Universe at War: Earth Assault Designer Diary #5: Alien Sound and Music Design.” GameSpot, 2007. https://www.gamespot.com/articles/universe-at-war-earth-assault-designer-diary-5-alien-sound-and-music-design/1100-6182220/
GameSpot. “Renegade Soundtrack Complete.” 2002. https://www.gamespot.com/articles/renegade-soundtrack-complete/1100-2837644/
Electronic Arts. “EA Reveals the Details of C&C Remastered.” November 14, 2018. https://www.ea.com/en-gb/amp/news/details-command-and-conquer-remastered
Electronic Arts. “Celebrate 25 Years of the Classic RTS Franchise with the Command & Conquer Remastered Collection on Origin and Steam on June 5.” March 10, 2020. https://news.ea.com/press-releases/press-releases-details/2020/Celebrate-25-Years-of-the-Classic-RTS-Franchise-With-the-Command–Conquer-Remastered-Collection-on-Origin-and-Steam-on-June-5/default.aspx
Electronic Arts. “Command & Conquer Remastered Collection Available Now on Steam and Origin: Welcome Back, Commanders!” June 5, 2020. https://news.ea.com/press-releases/press-releases-details/2020/Command–Conquer-Remastered-Collection-Available-Now-on-Steam-and-Origin-Welcome-Back-Commanders/default.aspx
Petroglyph Games. “Petroglyph Games.” Accessed October 27, 2026. https://petroglyphgames.com/
Green, Earl. “Interview: Frank Klepacki.” theLogBook.com, 2001. https://www.thelogbook.com/interview-klepacki/
Greening, Chris. “Frank Klepacki Interview: Having Commanded and Conquered.” Video Game Music Online, 2011. https://vgmonline.net/frankklepackiinterview/
Behind the Glass. “Interview with Frank Klepacki.” July 1, 2021. https://www.behindtheglass.uk/article-select.php?cat=113&id=267&pag=1
RetroNeo Games. “Interview with Composer Frank Klepacki.” December 13, 2015. https://retroneogames.com/interview-frank-klepacki/
Arcade Attack. “Frank Klepacki (Westwood Studios): Interview.” 2017. https://www.arcadeattack.co.uk/frank-klepacki/
CNCNZ.com. “Command & Conquer 10th Anniversary: Interviews.” 2005. Includes an interview with Frank Klepacki and several other former Westwood developers. https://cncnz.com/features/other-specials/command-conquer-10th-anniversary/interviews/
CNCNZ.com. “CNCNZ.com 20th Anniversary: Frank Klepacki Interview.” 2017. https://cncnz.com/features/other-specials/cncnz-com-20th-anniversary-frank-klepacki-interview/
CnCSaga. “Interview with Frank Klepacki.” Command & Conquer Headquarters. https://cnchq.de/cnc-archive/interviews/cncsaga-interview-with-frank-klepacki/
Gamers With Jobs. “Conference Call Episode 23: Frank Klepacki.” March 21, 2006. https://www.gamerswithjobs.com/node/1006621
KNGI Network. “Nitro Game Injection #158: Adrenaline, Frank Klepacki 20 Year Tribute Special.” 2011. https://kngi.org/nitro-game-injection-158-adrenaline-frank-klepacki-20-year-tribute-special/
Las Vegas Weekly. “Badass Composer: Frank Klepacki.” April 16, 2009. https://lasvegasweekly.com/ae/music/2009/apr/16/stand-back-make-room-emweeklyems-badass-music-issu/
Las Vegas Weekly. “Frank Klepacki on His Mission to Fill the World with Sound.” September 16, 2021. https://lasvegasweekly.com/news/2021/sep/16/video-game-composer-musician-frank-klepacki/
The Strong National Museum of Play, Brian Sutton-Smith Library and Archives of Play. “Finding Aid to the Lou Castle’s Westwood Studios Slide Collection, 1992–1995.” Rochester, NY. https://www.museumofplay.org/app/uploads/2021/09/Finding-Aid-to-Lou-Castles-Westwood-Studios-slide-collection_052115.pdf
MobyGames. “Frank Klepacki.” Accessed October 27, 2026. https://www.mobygames.com/person/1950/frank-klepacki/
MobyGames. “Frank Klepacki: Video Game Credits.” Accessed October 27, 2026. https://www.mobygames.com/person/1950/frank-klepacki/credits/
MobyGames. “Westwood Studios, Inc.: Company History.” Accessed October 27, 2026. https://www.mobygames.com/company/65/westwood-studios-inc/history/
Video Game Music Preservation Foundation. “Frank Klepacki.” Accessed October 27, 2026. https://vgmpf.com/Wiki/index.php?title=Frank_Klepacki
PC Gamer. “Command & Conquer and Red Alert Remastered Are Being Developed by Former C&C Devs.” November 14, 2018. https://www.pcgamer.com/command-and-conquer-and-red-alert-remastered-are-being-developed-by-former-candc-devs/
PC Gamer. “C&C Remastered Is Looking Good and Comes with a Treasure Trove of Rediscovered FMV.” March 10, 2020. https://www.pcgamer.com/candc-remastered-is-looking-good-and-comes-with-a-treasure-trove-of-rediscovered-fmv/
GameSpot. “Star Wars: Empire at War Designer Diary #5: The History of Empire at War.” February 2006. https://www.gamespot.com/articles/star-wars-empire-at-war-designer-diary-5-the-history-of-empire-at-war/1100-6144180/
Westwood Infiltration. “Frank Klepacki Interview.” 2001. Preserved by the Internet Archive. https://web.archive.org/web/20160821001542/http://www.westwoodi.net/read.php?Articles%2FFrank_Klepacki_Interview=
Music4Games. “Star Wars: Empire at War Interview with Frank Klepacki.” 2006. Preserved by the Internet Archive. https://web.archive.org/web/20071024190323/http://www.music4games.net/Features_Display.aspx?id=6
Music4Games. “In the Studio: Frank Klepacki.” 2008. Preserved by the Internet Archive. https://web.archive.org/web/20080508035427/http://www.music4games.net/Features_Display.aspx?id=203
Petroglyph Games. “Frank Klepacki Podcast.” 2006. Preserved by the Internet Archive. https://web.archive.org/web/20061021194725/http://www.petroglyphgames.com/news/index.php?id=60&year=2006