#twinvax

So I made a post about what I loved about it (although I could probably go on for ages about it...)

In terms of the differences between RQG and CR, let me see:

Setting & genre:

Whereas CR is straight-up high fantasy, RQG is steampunk-alternative universe-science fantasy. Both have elves, dragons, DnD magic, etc., but RQG places those features of fantasy in a steampunk version of the 19th century where magic and science mix. 

Like Matt, the DM Alex has put just so much thought into the campaign setting, and the worlds feel extremely tangible and a source of intrigue in themselves. 

Characters: 

Like CR, RQG is very character-driven, with an emphasis on the growth of the characters built into the plot and plenty of really meaningful relationships between the PCs (and between some PCs and NPCs). The characters are all (except one) thoughtful and multi-dimensional. 

I would say CR generally gives the characters more “breathing room” — time to discuss more explicitly how they’re feeling. Which is not to say RQG doesn’t have that, but the plot definitely has more of a sense of urgency to it, meaning that they have a little less reflection time.

Plot:

If I had to compare the overarching plot of RQG to anything in CR, I think it would be the Chroma Conclave arc — both have the general sense of “you have a time limit to race around the world and do X.” 

However, like campaign 2, RQG is essentially built on a couple of central mysteries that the characters are seeking to unravel, although with a  greater focus on those mysteries than anything in CR. Like c2, it’s also a fairly politics-driven plot at times, with several competing factions whose true motivations the characters are trying to understand. 

Gameplay:

RQG has a smaller party (4 PCs) than CR, meaning that fights are generally shorter; I’m not 100% sure, but I feel like RQG has more roleplay (vs combat) than CR, though by a fairly small margin. I rarely tune out during fights in RQG the way I sometimes do with CR. 

However, although the encounters are short, the DM is very fond of sequences where he sends the characters into encounter after encounter with very little rest, to the point of completely depleting their spells/abilities even at higher levels. Again, this isn’t to the detriment of roleplay, because those combat-after-combat sequences happen only once or twice per season and there’s plenty of roleplay between each short encounter — it’s just a DM style thing. 

The RQG party loves splitting up. There are whole 4-5 episode chunks where two plots are running simultaneously and the DM jumps back and forth between them every few minutes, sometimes with hilarious whiplash, and sometimes just to keep the pace moving. It sounds weird, but trust me that it really, really works. 

Oh yeah, and RQG is Pathfinder, not 5E, but it doesn’t affect things as much as you might think. Like CR, there are some players who are very experienced at the game and one top of the mechanics, and some who aren’t, and they balance each other well. 

Tone: 

This is really hard, because I think RQG has more extremes than CR. On one hand, it’s absolutely hilarious, and the players joke around with each other a whole lot, even during some fairly serious moments. On the other hand, the overall plot of the campaign is far darker than anything than CR, and the DM doesn’t pull any punches, and in fact, often pummels them. 

It’s really hard to quantify the pain that different pieces of fiction give you, particularly without spoilers, but by any measure, RQG has more: 

Permanent PC death 

PC’s loved ones being put in serious danger and/or killed 

Serious and permanent physical harm to the PCs in a way that affects them both mechanically and emotionally

But again, it can also be super funny, as well as very heartwarming! There are cuddles and found family! But there’s also just a whole lot of pain. 

“Just a few...more...lines...” Scanlan stifled a yawn. 

Pike frowned and took her husband’s hand. “You’ve been at it all night,” she told him in her best ‘don’t test me’ voice. “Take a break.”

Scanlan rubbed his eyes, staining his face with streaks of ink. He was running out of time. He’d promised himself he’d have In the Belly of Dragons published by the time he turned 71 and the date was practically breathing down his neck. “I’m almost done,” he said, more to convince himself than her. In reality, he was barely past the first of their many run-ins with the Briarwoods. 

When he’d started writing he’d thought he’d have the book finished in a month or two. How hard could writing be? he’d thought. Tary found it easy enough after all. 

Oh, how naive he’d been.

 “I’ve revoking quill privileges,” Pike said, easing the feather from his fingers.

“What? No!” Scanlan scrambled to snatch it back from her. “I’m almost done! Just a few more lines and I’ll go...go to--” he cut himself off with a fierce yawn. 

Pike cupped his cheeks with her hands. “You can’t think straight when you’re tired,” she told him. 

“I always write my best songs when I’m drunk.” He smiled sheepishly. “Drunk is the same as tired, right?” 

“Not quite.” Pike scooped him up as though he weighed nothing at all. Even in his sleep-hazed state Scanlan couldn’t help but marvel at her strength. What had he done to deserve a woman like her?

Pike carried him from his study to their bedroom and tucked him in. 

Scanlan patted the space next to him. “You should sleep too, it’s only fair.” 

“It’s almost noon,” Pike pointed out, though she was already curling up under the covers next to him. She leaned forward a little and pressed a quick kiss to his forehead. “G’night, Scanlan.”