called it "fun to listen to" and "second to none." As of 2005, Red Alert was listed in the Guinness Book of World Records for selling several million units, bringing Klepacki his widest audience. He wrote additional music for the game's expansion packs, Counterstrike and Aftermath. He attributed the success of Red Alert to an infusion of modern styles not found in other games. Klepacki initially wrote off the popularity of his music, assuming that his music "must only appeal to die-hards." He considered it "very surreal" to realize his soundtracks had gained him fame, and has since embraced his fans and critics. Later Westwood games In 1997, Klepacki scored a Blade Runner adaptation. Though Westwood acquired the rights to use the original film score by Vangelis, the company was not allowed access to the original master recordings, and Klepacki had to recreate the themes by ear. Developers were satisfied by his attention to detail, feeling that his digital recreations sounded clearer than the originals. In 1998, Klepacki composed for Dune 2000. He attempted to update the music from Dune II into "this non-blip stuff," and worked in homages to the original style of the films as composed by Toto. Dune 2000 was panned by critics, though Klepacki's score was praised for adhering to the traditional Dune style. Klepacki considered 2000 to be a more definitive work than Dune 2, which was constrained by software and hardware limitations. He composed for Command & Conquer: Tiberian Sun with Jarrid Mendelson—with whom he would later collaborate on Emperor: Battle for Dune. He began by writing Stomp, an energetic rock piece intended to recreate the effect of Hell March for the new game. Coincidentally, one of the trailers for Command and Conquer 3 featured 'Stomp' as the soundtrack. Westwood instead wanted Tiberian Sun to feature darker, more moody music, and Stomp was shelved in favor of the current sound. Bereft of ideas due to the stark change in direction, Klepacki asked Mendelson to collaborate; he regards tracks they both worked on as the best. Tiberian Sun ultimately featured dark, ambient techno music and ambient space music suited to the game's post-apocalyptic and futuristic setting. Klepacki cited the piece "Mad Rap" as his favorite. An avid Star Wars fan, he enjoyed scoring cut scenes featuring James Earl Jones, the voice of Darth Vader. The scenes also allowed him to integrate the Airstrike and No