CrunchyFrog

I wanted to say BG style, but honestly, as Obsidian has mentioned in several videos, that kind of resting is extremely degenerative in a lot of cases. You shouldn't realistically be able to fall asleep in the middle of a demonic dungeon and expect to live through the night, and while I did it anyway, sleeping after every major encounter just seemed wrong to me. Plus it bucks spell memorization which is supposed to be a hard limit on spellcasters, making them always completely overpowered compared to their non-magic using comrades, as well as just completely healing you party after every encounter, making planning for long-term survival in extended dungeons much less of a challenge than it shouldbe and rendering inn's next to useless. I voted mixed.

Most of the stuff he says is true, but I think he's being a bit too conciliatory when he says that the melodic themes of today's games are as high a quality and varied as they were back in the day. In my experience, a disproportionate number of games today have opted for either throw away melodies or just enough ambience to get by. Those wouldn't necessarily be bad things if composers would focus on making them a bit more striking and unique. There is a reason a lot of videogames music appreciation concerts include much older music, and it's not just because of nostalgia. It's one of the reasons why I instantly recognize the Tristram theme from Diablo 1 (a game I haven't played in years) and yet cannot recall any specific themes from Diablo 3 which I've only played just 2 months ago. He even mentions Zimmer and Williams, people who have worked with orchestras for years and still produce instantly memorable scores which resonate in the public consciousness. Very few game scores seem to do so anymore. One other thing I would really like a game to do, and Obsidian to do with project eternity, is also really focus on the Wagnerian idea of motif and development. Give us themes, but themes that are as intimate and multi-faceted as the characters we create and play with. Aptly so, I've been listening to Howard Shore's Lord of the Rings soundtracks like a fiend lately (moreso because the nearly decade long wait for the Hobbit movie(s) is finally nearly over). I and most others familiar with the music that I've talked to would say that Return of the King's score is by far the strongest of the three films, even though it introduces only one really major new theme (Gondor's). To be fair, it's partly by it's position of being the final movie where the most dramatic and poignant events come to pass. But it's also because it's an amalgam of the themes introduced in the first two films and, most importantly, it develops those themes far more than in the previous 2 films. Themes are mixed and intermingled and repeated again and melodic lines are flipped both linearly and harmonically, often in step with the developments on-screen. So much so that I can listen to the soundtrack out of sequence and still tell exactly where I am in the movie judging only by the musical themes at play.

Make it a gauntlet style thing maybe? Like it's the playhouse of some mad wizard. Before going in he preserves your party's souls so that when you die you simply get sent back to the top, or maybe you don't "die" so much as just desync from what is a kind of astral projection. The idea is to get as low as possible in a single life, eventually reaching the bottom. Whether this is tapered off by level/puzzle solving skill or whatever I'm not sure, but thats my $0.02

I would say, don't scal enemies down, but scale the lower level ones up. Helps keep combat challenging, and if a player feels they've hit a wall on too challenging enemies, they can always go back and grind in former stomping grounds.