Wednesday, 24 February 2016

Who I play with

The Elixir: Critical Hits & Fails

Some quick notes about ways to make 5e a bit more dangerous, while not falling into OSR level lethality.

Of course, all this applies to both monsters AND PCs.

Critical Fails on Saves

This is very risky. I love it.

A nat 1 on a saving throw = double damage or double effect the same a way a regular critical is.

Critical Hit & Fail effects

Critical Hit & Fail tables are really fun. I hate them. They're too fiddly and slow down play. Most also do rob players of tactical agency in sometimes unfun ways. Decks are fun but we play online and I don't really like roll20's deck feature; I might come around to it, we'll see. 5e went a long way to making criticals simple and effective: no more confirm critical bullshit.

But I do want them to add more uncertainty and an element of reaction and adaptability to criticals. Particularly fails, as I want them to be much more "oshit" then just "you auto-fail".

Somewhat related, I want to make more equipment more ephemeral. Things break, require maintenance, get lost, stolen, etc. The alternate inventory system I use goes a fair way towards this, but I think we can make it go a little further.

Alexis provides a starting point:

"For a long time I've been playing a house rule that a 1 on a d20 'to hit' was a dropped weapon...An ordinary, crummy weapon, I reasoned, would break 1 in 6 upon dropping. A 'hard-forged' weapon would break on a 1 in 8.  A 'blessed' weapon, one that had been hard-forged and both lucky and loved in its construction, would break on a 1 in 12.  And a 'mastercrafted' weapon would be the kind made by an artist ... and it would break on a 1 in 20."

I like it, but there's too many numbers, let's simplify it.
Cheap/shoddy: 1 in d4. Normal: 1 in d8. Masterwork: 1 in d12.

This should apply to spellcasting foci and components as well.

It's interesting that this rule "reflect[s] the value of cheap weapons vs. really valuable weapons, those which didn't happen to be magic" which gives more impetus to Gold as XP.

So the inversion of this on critical hits, is armour.

A critical hit removes AC down 1 till we reach natural AC (10+dex mod). After which a critical hit forces a roll on lingering injuries. If using a shield, deduct AC from shields first.

Cheap/shoddy armour/shields: remove twice as much AC. Masterwork: takes two critical hits to remove a point of AC.

Prices for this follow the same formula: half-price for cheap, double price for masterwork.

Monday, 22 February 2016

Eyes & Teeth & Mouth & Hands - Session 02/21/2016

System: 5e
Akin, level 1 half-orc barbarian
Camo, level 1 human bard
Cecil, level 1 human fighter
Rolen, level 1 wood elf arcana cleric

First session. So the PCs started in Raveslan, a random village map I pulled off the internet and decided to start my campaign in.

Day 1

I decided not to put the PCs in the tavern straight away and let them wander for a bit. Camo cut a deal to perform at the Greenhill Inn for room and board; Crowley, the innkeep, was a bit green about the gills so she tried to get a wage out of him, but no dice. She did manage to cut a deal with the front of house for splitting drink profits (if someone tries to buy her a drink, she orders a hummingbird: they give her a glass of water, she splits profits 50/50). 

Rolen visited the Shrine of Elma very quickly. A shrine devoted to the Morrigan and a local petty god, The Divine Worm (NSFW). There was a crypt with shrines of infants, which a couple of people were praying in front of, but he didn't pay attention to them.

Akin headed to the bar and started drinking a local brew, the Black Plague Stout.

Cecil, who is a fourteen year old girl, went to the general store, doing a wheat delivery from her village which is 9 miles SE of Raveslan. The general store owner, Finn, is concerned: roads are dangerous, she came on her own, he's heard rumours of banditry down south. Cecil shrugs it off because she is a creepy child.

She wanders into a creepy house with a sign that read Trinkets & Curios. The house is dimly lit and smells strongly of patchouli, and is stocked with shelves and shelves of odd objects. She picks up a sphere carved of a dense bone, that looks like this: 

before an odd man with snake eyes, a forked tongue, and a limp politely asks her to leave.

Back at the Greenhill:

Abecan, the town reeve, notices Rolen who looks like the fightin' type and tells him about some of the problems going on in the area: bandits and orcs across the river, the wizard that used to help them, Wokrugh, has been missing for two months, children have been disappearing. Since the royal procession is due to pass through Raveslan in a couple of weeks as they move from the summer capital of Elswark up to the winter capital of Mydern. Rolen says he'll keep an eye out to help anyway he can.

Meanwhile some folks are eyeing Akin hostilely. Camo decides to play some music to lighten the mood and rolls double natural 20s (we play on Roll20 so it auto-rolls the second d20 for advantage/disadvantage). She attracts the attention of the entire village who comes into the village to listen. Crowley is ecstatic: the inn is usually empty. Camo makes a few silvers, and a few villagers thank her for taking her mind off their troubles (dead kids). Cecil approaches Camo and creeps her out. 

A man named Harlen gets quite drunk and tries to start an altercation with Akin, claiming that she's with the orcs across the river who he blames for the missing children. The situation is defused by Camo. The crowd disperses. Cecil is going to leave to walk home but the villagers are reluctant to let her leave at night time, so Crowley lets her stay in the night in the attic, where Camo is also meant to be sleeping.

Crowley starts tidying up and the rest of them get rooms for the night. Akin helps Crowley mop the floor because he is pitiful and she is experienced at swabbing from her time as a sailor. Akin asks Crowley if he knows anything about the missing children. He didn't, but did mention that Harlen saw weird tentacled cats in the hills to the north, but he might have just been drunk. 

Camo decides not to sleep in the same room as the creepy kid and sleeps in a different, empty room. No one else is staying at the inn.

Rolen detects magic as a nightly ritual and notices a blue light emanating from between the floorboards, identified as conjuration magic.

That night they all have a nightmare. They're in the inn, on what looks like the second floor. They all see each other, can all interact with each other, etc. Cecil has a sickle, which she starts talking to, calling it Mr. Sickly and asking it what to do.

They're surrounded by shadowy figures who moan "We've been here for years!" On the floor are empty flagon,  dresses,  evidence of a debauched night. The windows open out into a thick void of utter darkness, full of milky, slurping tendrils that caress. Camo sticks her hand out the window. The darkness has the consistency and texture of jello.

The place where the stairs should be also opens into a hole of blackness. Rolen decides to go down it and would've been pulled down into it for eternity had not Akin and Camo been holding onto him and rolled high on their Athletics checks. Rolen is pulled up gasping and sputtering, hell jello  (hello? Is it me you're looking for?) oozing out of his orifices.

Day 2

They wake up and go downstairs to talk to Crowley, sans Cecil who stays in her room. Crowley looks sleep deprived, eating porridge and having a double of whisky to assuage his nerves. When Rolen confronts Crowley about it he breaks down and tells them: he bought the inn two years ago for cheap, not realising it was, essentially haunted. Five years ago, some wizards had a debauched party and ended up teleporting the second floor of the inn into another dimension. People who sleep here are plagued with nightmares. A few fell down the hell jello hole. No one sleeps here anymore, business is bad. 

Camo urges Crowly to rebrand the inn as a haunted house experience. Initial name suggestions of the "The Spookyhill Inn" are gently dissuaded.

Over porridge Akin, Camo, and Rolen talk about the creepy kid with the sickle and what to do with her. Camo brings her some porridge, Rolen tries to detect magic. Eventually they all go out to find supplies around town. Camo buys crossbow bolts from the smithy because she had a crossbow but no bolts from her starting equipment. The blacksmith asks Cecil why the iron ore shipments from Avol have been so slow. Cecil shrugs it off.

They go to the general store where they see Finn's surly son, Huw, who announces that he's leaving for the Shrine of Elma. Finn asks Cecil why she hasn't gone home and asks the rest of them to please take her back to Avol. They agree to do so, despite Cecil's protests.

On the road to Avol, they all visit the Trinkets & Curios house to try and find some creepy stuff for Crowly. Cecil stays outside. The man from before introduces himself as Grime. Rolen tries to cast Detect Magic but Grime points out the No Magic sign. He leaves the store (notices Cecil has left) and casts it and tries to walk back in but there's a barrier. Akin and Camo look around for some creepy stuff. There's a mummified dwarf (?) heart. They decide on a skull. Grime directs them to the shelf of skulls, including but not limited to: human, dwarf, halfling, gnome, ettercap, troll, and elemental skulls (a puddle, a coal, a rock, and a jar labelled "air elemental skull"). Grime's not sure if they're cursed or not. They decide on a standard human skull, and Grime throws in a free little keychain/earring skull that goes clicky-clack when it moves.

Because Cecil disappeared, missing kids came up. Grime insists it isn't him, and blames Huw, citing some creepy masks Huw brought back from the north when he left town for a few years (after his child died) as evidence.

Cecil's back outside now and they head towards Avol. The clicky-clack skull turns out to be ambiguously Irish and very unambiguously foul-mouthed. It insults people for 5 minutes a day and then falls asleep. Akin wears it as an earring and it loves her. On the road to Avol, they pass Abecan's house and his mother is on the porch. She tries to convince Camo to marry her son, but after a swearing fit from Akin's skull necklace she passes out and the party continues on their way.

They encounter some barrows by the river but otherwise their journey is uneventful. The road to town is blocked by three bandits. They let Cecil past but insist the the other three pay their toll. Bill rolls a d12 twice to set the price, rolls 5 twice, gets angry, and sets the price at 10 gold. Some back and forth occurs and the three bandits end up being of the "lovable rogue" variety rather than the murdering douchebag variety. Apparently Einstein is one of the bandits and they all know the theory of relativity.

Akin manages to persuade one of the bandits, Tristram, to let them pass (they go into a shack and do it for like 2 minutes). 

The town is infested with bandits. They see two houses have burned down. One of them belonged to a family, the Ovrens, that refused to pay the bandits and it was burned down with them inside. They go to Cecil's house and her brother, Tov, tells them the situation: bandits have held the town for 3 months, bribed guards, etc. They've closed off the town mines for some reason and the town is slowly dying. Tov asks if the PCs could take care of Cecil for a while, since it isn't safe in Avol.

The PCs have no idea what to do now so they just go to sleep instead.

Day 3

They go to check out the local inn, The Gargoyle's Nook, where Cecil's older brother Bennet works. It's full of bandits. Camo tries to talk to one, an irritable man by the name of Harvald, but is promptly ejected from the bar. The PCs are left with no idea of what to do, but a vague desire to explore the mines.

Overall, very fun and solid start to the campaign. I have a really good roster of players. Start was a bit slow, and a couple of the players struggled with the sandbox ("I thought Avol was where we were supposed to go! It seemed level-appropriate!") but no more bumps than normal for the first session. Excited for next Sunday.

Friday, 19 February 2016

Fantasy Hip-Hop

My playlist today ran through Wolves in the Throne Room, Have a Nice Life, Fetty Wap, and the new Kanye. And a thought occurred to me.

Metal and its (many, many) subgenres is the only genre that consistently does fantasy. And consequently, people like Zak S. and James Raggi, who define and produce a lot of the "weird fiction" content for D&D, are extremely influenced by metal. Vornheim is a Teutonic Gonzo-Norse wet-dream.

I love metal, but it largely draws on European myth and folklore (as does D&D in general). Now I love me Vikings and shit and I have the complete Northlanders and about 3 translations of Beowulf within arms reach (and a giant fucking anthology of Old English, Norse, and Icelandic literature) but, as a delicious chocolate man (or POC if you're boring) I gotta wonder about the alternatives.

What does hip-hop fantasy look/feel/sound like? Hip-hop D&D? Or acid jazz or j-rap or reggaeton or whatever. Or, what does non-white metal look/feel/sound like?

p.s junot diaz write an actual fucking fantasy novel already jesus christ

Thursday, 18 February 2016

Busking 101

If you have a bard in your party and want to get more mileage out of the Performance skill, I present to you my rules for busking in 5e (though it could pretty easily be adapted to any other system).

Players can choose to busk as a downtime activity if they are in a civilized area. If the players are busking in game time, wing it with the time they spend busking.

Roll Performance (if performing as a group, roll with advantage in 5e). Multiply the roll by # of days spent busking. The busker receives that number in
  • Coppers or equivalent if busking in a village (street), or a disreputable part of town.
  • Silvers or equivalent if busking in a city (street) 
  • Electrum or equivalent if busking in the cultural sector of a city or a city renowned for the arts, or the inn of a city, or a public amphitheatre in a city.
This could also be adapted to the gratuities received if playing in an inn of some kind, even though that's technically not busking (and you're more likely to be paid in drinks, but you could cut a deal with the bar). Increase the denomination by one step for playing in an inn (so silvers in a village inn, electrum in a city inn, gold in an artistic city inn).

Now the fun part. Roll on the Random Busking Encounters table below. I suggest directly RPing this whether you're busking in downtime or game time. 

The Performance check determines how to roll on the table:

A Nat 1, roll with disadvantage.
A roll between 1-9, roll a d6
A roll between 10-15 roll a d12
A roll of 15+ roll a d20
A Nat 20 or any roll in excess of 25, roll with advantage.


1. Scandal: You said, did, or performed something offensive to the local populace during your set. Receive no gold and you are no longer able to find employment as a performer in this city until such time as public favour returns your way.
2. Play Wonderwall: You've attracted an unfortunate hanger-on, a heckler, an obsessive fan, or 
someone else equally unpleasant who drives the crowd away. Halve money earned.
3. Trespassing: You've inadvertently begun performing in an already staked area. Maybe a bard's alliance lays claim and requires a membership fee, the city bylaws require a busking permit, or a thieves' guild wants a tax for being on their turf. Whatever the group is, they will ask for d% of all busking profits in that area. The PCs can refuse but must deal with the repercussions. 
4. Murphy's Law: Something unpleasant and unexpected happened. Roll on your Random Urban Encounters table, or if you're feeling gonzo, a Wandering Monsters table. Strange rumours circulate about you in response to this incident.
5. Technical difficulties: Something you use in your performance (instrument, costume, script, etc.) is stolen, destroyed, or damaged. You'll need to find a way to get it repaired or fixed, or develop a new act.
6. Harsh words: Someone has it out for you. Your performance was poorly received by a local critic, a patron of the arts, a nobleman, etc. They disparage you openly and publicly. Roll with disadvantage when busking in this area unless you manage to rehabilitate your reputation.
7. Afterparty: Carouse!
8. Dark materials: You made no money. Where was the crowd? It seems unseasonably overcast. And what was the deal with that one guy who left you: 1-3 something entirely useless, a shoestring, a cork, a frayed playing card, 4 a trinket, 5 a strange idol, 6 a random magical item (would suggest something consumable), probably cursed or, if a  consumable, likely to have unintended effects (see here, here, or here
9-12. Business as usual: Nothing particularly interesting happens. 
13. Damn fine performance: You're in the zone. d% extra currency earned.
14. All abuzz: Something was especially remarkable about the performance, or someone important has taken to you. Word of mouth spreads quickly. People will be talking about you. Roll with advantage the next time you busk in this area.
15. Imitation is the sincerest form of flattery: You're a trendsetter. Your style is taking off locally: being codified into a genre, trend, etc. Imitators abound. You're even more well known than before, but consequently, you're at the risk of becoming passe if you don't change up something in your act or dissuade your imitators.
16. New friends: Your performance attracts: 1-3 a new hireling, contact, or friend, 4-5, a random animal companion (dog, goat, badger, snake, bear, psuedodragon, etc.) who joins your act, 6 a familiar
17. Interested eyes: Someone important has noticed you. You have: 1-2 been invited to play at the manor of a wealthy patron of the arts, 3-4 been invited to play a large show(s), 5-6 been offered a publishing deal (or equivalent based on genre & time period).
18. An instant classic: That'll go down in history. New-found fame attracts attention, both wanted and unwanted. 
19. Keep it secret, keep it safe: While sorting through your tips, you find something you hadn't noticed: 1, a magic rope, 2 a magic candle, 3 a potion (as normal, or here and here), 4 a spell scroll, 5, something from someone you haven't seen in a long time, 6, a random magic item.
20. Lightning in a bottle: You'll never have a performance like that again. Roll twice on the table. Double currency earned after all encounters are resolved (in order of low to high).

This'll keep your bards from becoming complacent and safely getting rich through bardi-ness. Remember, the best bard is a dead bard!

Tuesday, 16 February 2016

The Elixir: Gold as XP in 5e

So in the new campaign that I'm about to start running, I introduced a version of Gold as XP into my house rules. My players, who all started playing with 5e, were naturally a bit confused, and one of them even expressed discontent and asked that I provide a justification for the system. I did, and I thought it was worth posting here as well.

Over the course of this blog, I'll be talking about my attempts to distil 5e into the hybrid between old-school and new school play that it is aspiring to be. This is technically not the first post I wrote on the subject (that one is on backstory, and it's still saved as a draft on this page) but this is the first one I'll post. I'm convinced that 5e was written to support a gold as XP rule, and in my opinion it makes the game work the way it was intended. The often ignored rules for lifestyle expenses and hirelings take on new life this way, and the math for it actually evens out the levelling pace to what it was meant to be (fast shot from 1 to 3, then slowing down from 4 to 10 which is the meat of the game, then a quick rise to power from 11 to 20).

My Gold as XP system for 5e is as such:
  • XP is earned through the spending of gold. A character levels up when they have spent the total amount of gold (1 XP = 1 GP) to reach a level: i.e., a character who spends 300 gold levels up to level 2, and from there would have to spend 900 gold to level up to level 3, etc. etc. This also means characters can choose skip levels and level up more "efficiently" if they so desire, i.e. spending 900 gold at level 1 to get to level 3, or 355,000 gold from level 1 to get to level 20.
This works in tandem with Matt Rundle's Anti-Hammerspace Inventory System, which keeps the PCs from stockpiling mundane goods to advance, and I tossed them a supplement for building strongholds to get their imaginations started.

And here is the justification I wrote for my players:

So, gold as XP, wtf does this mean? Why are you doing this?! What madness is this! It makes no sense!!!!!!!!

Well, dear player, this is not without precedent. Prior to 3e, this is the way XP was mostly handled. However, I am not slavishly devoted to nostalgia. Allow me to mount a justification for why I chose this system. 

1. It encourages players to add to the world through interesting choices. To whit:
"The rules subtly encourage Player world building via the XP system. Characters all seek to grow in survivability, and may only do so by plundering and then spending cash. They move wealth from ruins/lost places into a game economy. Since the characters can only advance by spending large amounts of gold they do large things with it.

In the ODD game I play on G+ PCs have: tried to invent spells, built hidden shrines to dubious gods, bought property, erected memorial statutes and now at 6th level are attempting to rebuild a road with a fortified toll post to skim off new trade. None of this was planned by the GM, the world was just open for it, and even if our party gets wiped out by the forces of barbarism that object to new trade routes - we'll leave something behind (in addition to a treasure trove of equipment)."

(hint: it's the reason why I included the supplement for building keeps and strongholds above)

1.1 "But what if we spend the gold on uninteresting choices? W
hat is "spending" anyway? If I pay someone to clap does that count as money? If I take a piece of gold and go up to another pc and just make each other clap can we get to lvl 20 that way?"

There really isn't any such thing as an "uninteresting choice" in this system. Consider it as a totality, in tandem with the more limited inventory system. Sure, you guys could buy hundreds of 50gp healing potions, but you can't carry them all? Where do you put them? Do people spread rumours about this? While you're adventuring do thieves raid your potions cache, and then flood the market with cheap, watered down healing potions? How does this affect the local economy? Your relationship with the alchemist you bought the potions from?

Say you go into a tavern and demand money from the patrons. If you succeeded, boom, there's a story about you. How will people react to you from now on? How will they treat you.

If you begin overpaying for goods and services, assuming the storekeeper accepts, how does that affect the local economy? Your reputation with the locals? You're essentially investing in businesses for free. 

Every transaction has an interesting effect on the world.

And if you and another PC pay each other 1 gp to clap, congratulations: you both earned 1 xp and had a beautiful character moment. I hope you two grow closer as a result (seriously though, try to cheese it like this and I will be upset. y'all are better than that).

2. It puts the player in charge of their own advancement. One could choose to hoard gold to level up more efficiently at the cost of immediate survivability. It's a risk/reward system. Acquisition of treasure means the players have more agency in deciding the pace of the game. As a result, this gives me as the DM a little bit more flexibility as I don't have to design everything to an "encounter budget".

3. 5e is already balanced around this! Don't believe me? Compare the XP charts to the CR hoard tables in the DMG. The math checks out. The fact that there's so little to spend gold on in 5e versus gold acquired in play tells me that this was something that was designed to be a possibility (Mearls still runs OD&D at home).

4. It turns gold into an important resource: do you spend it immediately and convert it into XP, or do you save it in case of emergency? It turns the decision to spend gold or not into an important one as opposed to a foregone conclusion. 

5. It flips the standard assumption that one gains XP through combat on its head. All approaches are equally valid.

Common objections that you, the hypothetical player may have and my defenses

1. "This system assumes every PC wants gold!" Not at all. This system is merely an extension of the assumption already built into 5e that the players will receive gold. 

Also, if we take verisimilitude into account, every PC does want gold the same way all of us enmeshed in the capitalist system want money: we need it to survive. Lifestyle expenses are built into 5e for a reason. At some point the PCs are going to need to get gold. When they get more gold than they need in the short-term, this system encourages them to actually do something interesting with the surplus gold they've recieved.

Not only that, this system makes less assumptions than the standard XP system in the PHB. That system assumes that you'll be dealing with "encounters": i.e. monsters that you defeat through combat. Sure you can talk past them or sneak around them but the standard assumption is combat. This system doesn't even assume that you'll be dealing with combats, traps, dungeons, exploration, anything. Just that you'll be on "adventures", broadly speaking. Political intrigues? Exploration? Murder mysteries? Crime thrillers? This system supports all these genres straight out of the box. Standard 5e XP does not.

2. "Gold will become an artificial motivator/my PC has no reason to spend gold"

Well the reason y'all are playing in my campaign is because I trust you all as gamers.

Also ignoring the fact that all roleplaying is nothing but artificial motivators, there's always something your PC will want that can be accomplished by gold. You can give succour to the poor, or build churches, or invest in business, or just drink, party, and gamble. If your character has motivations and goals, I'm willing to bet 99.99% of the time those goals will either a) involve gold or b) be aided by expending gold. Gold becomes a facilitator of a character's motivations, rather than the motivation thereof. Effectively, this XP system levels up your character by roleplaying your character! As your character advances along their goals, or even as they just act like themselves and do the things they want to, they gain XP for doing that. How about that.

3. "If you want to reward us with XP for roleplaying our characters/have flexibility as a DM, why not use milestone?"

a) This is a sandbox campaign. Milestone doesn't work as well without a metaplot.
b) Milestone takes away player agency and puts it in the hands of the DM.
c) This kind of is milestone, since I decide how much gold gets put in the game. But unlike milestone, you as players have an element of choice in deciding how much of that gold to uncover and why, and then you can actually do something interesting with it. There's nothing interesting you can do with XP other than level up. There's a bunch of interesting things you can do with gold.

4. "So I can become a level 20 wizard by selling wooden cups?"

*Sigh* okay here is where you have to take a leap of faith with me you guys....

Theoretically, yes. But it would be incredibly slow, and there's no guarantee that your wooden cup business would ever take off to the extent that you could earn enough gold to get to level 20. 355,000+ gp is a lot, you would need to be the equivalent of a multinational corporation for that kind of gold: and that sort of thing requires lots of luck, skill, and political manoeuvring. And I'm sure there would be rival cup companies to deal, trade deals to be made with kings, protectionism, extortion. What's this? *Gasp* Is this the beginning adventure? One that might require you to use your skills as a wizard and level up in the class? SHOCK, HORROR, BETRAYAL!

So yeah, you could sell cups. Would you want to, though? It's not very game-able or interesting (and thus is unlikely to come up/survive at the table) unless it's an adventure. Because that's the implicit assumption behind D&D: that your character, and you, want to go on adventures. 'Cause if not, you're sort of playing the wrong game.

Adventuring is also by far the most lucrative, and most dangerous, career. A high-level treasure haul is enough wealth to form one's own nation: it's certainly more gold than you could ever get without adventuring. GP becomes a sort of material representation of the adventures you've gone through to acquire that gold.

Gold, glory, and deeds. These things will make you well known. You'll notice that 5e tracks tiers of play by renown: Local heroes, Heroes of the realm, heroes of the universe, heroes of the multiverse. The best way to get famous is to have wealth and to do stuff with that wealth: build a big tower, publish a line of books, whatever (you'll notice that these are "fluff" things and not "crunch" things: they have nothing to do with your stats). You gain wealth through your experience adventuring. You gain experience though spending that wealth. It's a beautiful tautology that makes explicit the driving logic and force of the game when removed from an unnecessary shackling to story or combat or whatever for its own sake and allows the game to live and breathe on its own and create a dynamic emergent story through sandbox play based on player action, decision, and choice; a merging of "role-playing" with "game".

I know this concept seems foreign, but I have thought long and hard about it, and so too did Gygax. If one pays close attention to my arguments, you'll see that more of the rules as written (lifestyle expenses, treasure hoards, hirelings) that are in the game make more sense and flourish more in this system than they do under standard XP/milestone. I firmly believe this is the way 5e is meant to be played. In relation to the history of the game, the other system for XP is the anomaly, not this one. I'm confident that this'll create a more dynamic and interesting scope of play. 

EDIT: Callum from Hack & Slash is probably one of the bloggers in the DIY D&D community that has the best understanding of Type V D&D. His post on the Economy of 5e vindicates many of my points here. Downtime activities were baked into 5e to provide the impetus to adventure that Type III and IV D&D forgot about (and it's even more elegantly realised than in TSR-era D&D, I'd argue).

EDIT 2 ELECTRIC BOOGALOO: The design ethos behind Snow Witch, Shield Maiden's XP Orbs is really interesting and similar to what I've got here. To be honest I prefer the simplicity of gold though. Interesting that they bring up the Souls games, which are basically the most Old-School D&D games ever made.