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Surreal Tabletop RPG ‘The Zone’ Combines Easy to Learn Rules With Unsettling Atmosphere [Review]

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The various versions of Annihilation and Stalker have always been a huge creative inspiration to me. The idea of venturing into a place where the rules of reality breakdown is one of the most unsettling ideas I can imagine, and it’s a vibe I’m always chasing when consuming media. When The Zone, a play-to-lose tabletop RPG from designer Raph D’Amico, hit Kickstarter last year, it looked like exactly the type of game I needed to bring to my RPG group. The crowdfunding campaign was a huge success, and now a little over a year later I finally got my hands on the finished product, and it was exactly what I was looking for.

The Zone varies greatly from what you may traditionally know of the tabletop RPG space. It’s meant specifically for one-shot play, it’s not a power fantasy where your characters get stronger as they overcome obstacles, none of the players are the game master, and there’s no dice involved. Instead, you all collaboratively tell a story about a doomed expedition into a surreal and shifting environment that mutates everything and everyone it comes into contact with. Throughout the course of your journey, all but one of you will die before reaching the center of the Zone itself, where the final survivor will be granted a wish. To help facilitate the story, the narrative prompts for every element of the game are delivered through combinations of cards, as are your character builds.

Instead of worrying about stats or skills, your character consists of three elements that are provided by cards. At the beginning of the game, you’re dealt a number of Archetype and Motivation cards for you to choose from to provide inspiration for your character. Your archetype is your official role, like soldier or scientist, that will help you come up with a backstory and inform your approach to situations. The motivation cards have two elements to them: obsession and phobia. You’ll need to pick one motivation card to be your obsession, what drives your character into the Zone, and another to be your phobia, a fear that the Zone will prey on to test and challenge you. It’s a very simple system, but it provides you with enough information to make a compelling doomed explorer that you can move towards their horrible fate.

In order to lay out the path that you will explore, you draw from a separate deck of location cards. There are a few locations that will be fixed constants for all games, like the observation facility or border of the Zone, but everything else will be determined by the luck of the draw. Each of these location cards has three options for how that space presents itself in your game, and it’s up to the players to decide together the details of what it looks like. The game aims to create an immersive and thematic setting around the table, so you’re asked to arrange the cards in a spiral that leads towards your final destination in the center. These cards have a sleek holographic finish to them that gives the game a level of polish, making for an extremely atmospheric and attractive setup.

Players take turns acting as the director of the game scene by scene. When you’re the director, you draw a scene card from the deck and read it out loud to the other players, facilitating the setup of the sequence. These prompts are brief but impactful, with some questions that can help you get the creative juices flowing if you’re stumped. Everyone is in charge of painting the details of the scene while also talking about how their character reacts to the strange events. Narration continues until someone decides that the action described needs to be decided by the “Not So Easy” deck, the game’s form of randomized conflict resolution. These always have the format of ‘yes/no’ and ‘and/but’ along with some details or questions that often give you a narrative prompt for the resolution that ties to your phobia or obsession. Sometimes the card also forces your character to undergo a mutation, physically marking the effects of the Zone on their body. The mixture of all these cards help push you and your characters to an interesting narrative effortlessly, while still giving you the space to make it your own.

Characters cannot die from a standard Not So Easy card; instead they have to wait until their Fate card is drawn. Each player has a callsign associated with their character, and each of the latter locations has a Fate card placed on top of it that matches a callsign. Meeting your fate is not meant to be a loss in this game, since you’re going in with the play-to-lose mindset, so the game gives you full narrative control when your time is up, allowing you to craft your own tragic ending. Once you get to the center of the Zone, there’s a procedure to follow for resolving the surviving player’s wish, one which gives more narrative power to the player with the most Not So Easy cards drawn throughout the game. It’s a smart way to incentivize people to put their characters at risk by drawing those cards, encouraging you to embrace the themes of the game in play.

This may sound like a lot to take in, especially if you’re used to more traditional RPGs with more in-depth character sheets and complicated dice rolls, but The Zone is one of the most beginner-friendly RPG books I’ve ever read. During setup, the books should be passed from player to player to read each section, walking you through every element of how the game is played while keeping the whole group engaged. Early scenes in the game are specifically constructed to get players used to The Zone’s form of collaborative storytelling with a subtle and unobtrusive tutorial. There’s a wealth of advice within about how to deal with getting stuck creatively. Understanding the rules is one of the biggest hurdles of getting into tabletop RPGs, so it’s refreshing to see a book that’s so dedicated to onboarding players.

There are a couple extra books that can be purchased alongside the main game, either in print or digital formats. One is a book of mutations, with inspiration for the effects the Zone can have on the player, along with some random table to roll on if you want the dice to decide your fate. This book is another great tool to help spark inspiration, full of clever ideas that I would not have come to on my own. The second book is a collection of scenarios that take the format of the game and add new themes or mechanics. The setups range from following up on a disastrous experiment to see if we live in a simulation to exploring an apartment complex engulfed in a mutating black mold. All of these scenarios come with gorgeous artwork that helps convey the tone of each, complimenting the already beautiful artwork in the base game.

Top to bottom, The Zone is a great package for those new to the hobby or seasoned players looking to explore new tabletop RPG systems. Its heavy emphasis on improvisation combined with its evocative setting and prompts get the stories flowing easily at the table without getting bogged down in complex rules. There’s just enough structure to allow you to keep things moving, guiding you through a satisfying one shot in about three hours. If you’re curious and want to try it out, there’s a full online version you can play to test it out that walks you through the game step by step like the book. Surreal and creepy, The Zone is a standout tabletop RPG that creates a memorable night at the table that requires no preparation.

The Zone can be purchased at Laughing Kaiju’s website.

4.5 out of 5 skulls

Game Designer, Tabletop RPG GM, and comic book aficionado.

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‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]

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Isla (Alix West Lefler) holds up a hand covered in bees

The opening scenes of director Christian Sparkes The King Tide set an ominous tone: a powerful storm takes down the power lines of a small island town as a pregnant woman loses her child while her dementia-suffering mother sits nearby. In the morning, as the town takes stock of the damage and the power is restored, a surprising discovery is found in an overturned boat in the harbour: a baby girl…with the ability to heal.

Writers Albert Shin and William Woods, working from a story by Kevin Coughlin and Ryan Grassby, treat the story as something of a morality tale mixed with a fable. Following the cold open, the action jumps ahead 10 years at a point when the unnamed island (the film was shot in Newfoundland, Canada) is thriving. The fishing is bountiful, the islanders are self-sufficient and have cut ties with the mainland, and most everyone is happy.

As characters are prone to saying, it’s all thanks to Isla (Alix West Lefler), the miracle baby who has grown up worshipped by the islanders. While Mayor Bobby Bentham (Clayne Crawford) and his wife Grace (Lara Jean Chorostecki) endeavor to raise Isla like any other little girl, the reality is that the island’s entire ecosystem revolves around her miraculous powers. It is only because of Isla that they survive; every aspect of their lives – from medicine to food – relies on her.

Each day the citizens line up for their allotted time with the young girl – be it to stave off breast cancer, like Charlotte (Kathryn Greenwood), or recover from another night of heavy drinking like former doctor, Beau (Aden Young). There’s even a predetermined schedule for when she will go out on the boats and use her power to lure fish into the nets.

Bobby (Clayne Crawford) watches adopted daughter Isla (Alix West Lefler) write in candlelight

One fateful day, Bobby succumbs to peer pressure and alters Isla’s schedule at the last minute to accompany cod fishermen Marlon (Michael Greyeyes) and Dillon (Ryan McDonald). A childish game with fatal consequences is played, but with Isla indisposed, a young boy, who would have otherwise been fine, dies. And while the rest of the community grieves, it is Isla who is completely shaken and, unexpectedly, loses her powers.

Suddenly the entire balance of the island is thrown off. Folks like Grace’s mother, Faye (Frances Fisher), who relied on Isla to keep her dementia at bay, suddenly reckon with mortality, while the food security of the town is called into question. Faye’s late-night “support group” meetings take on an urgent and secretive tone and the townspeople claim ownership of Isla’s time despite Bobby and Beau’s protests that she needs rest to recover from her trauma.

Like the best thrillers, the politics and personalities within the community come into play as morals are compromised and the good of individuals vs the collective is played out in increasingly desperate situations. The King Tide excels because it is interested in exploring the competing motivations of the townspeople, while also resolutely refusing to paint anyone as inherently good or bad. These are desperate people, determined to remain independent and free from outside interference, while protecting their trapped-in-amber way of life.

Isla (Alix West Lefler) sits with her back to the camera in a doorway

These developments work because there’s a humanity to the characters and The King Tide wisely relies heavily on its deep bench castoff character actors to drive the conflict. Crawford is the de facto protagonist of the ensemble and he’s also the most straightforward character: Bobby is a good man and a loving father, but he’s no white knight. At several points in the film, his willingness to acquiesce to the demands of the community and retain his power causes events to spiral further out of control.

Even more fascinating are Grace and Faye, two commanding women whose capacity for maternal love is matched – or eclipsed – by their own self-interests. A mid-film discovery about Isla’s power reframes Grace’s priorities, ultimately pitting her against her husband. As a result, Grace is incredibly compelling and frustrating (in a good way) and Chorostecki, who has done great genre work on both Hannibal to Chucky, plays the moral ambiguity exactly right. Grace is a fascinating and flawed human character in a film filled with them.

The same goes for Fisher, who deftly balances Faye’s grandmotherly love for Isla with the needs of the community and, by extension, her own health demands. In the hands of a lesser performer, it would be easy to hate Faye for her actions, but Fisher’s performance perfectly captures the fierce determination and fear that drives the island’s matriarch.

Finally, there’s Aden Young, The King Tide’s secret weapon. The ten-year jump reveals that Beau has undergone the most significant transformation: while everyone else has benefitted from Isla’s powers, her presence has eliminated the need for a doctor. With the clinic effectively shuttered, Beau has become an alcoholic; a shell of his former self with no purpose.

Like Bobby, Beau is the easiest character to root for because of his selfless desire to protect Isla, but Young (renowned for his work with Crawford on Rectify) unlocks the character’s tragic pathos and, in the process, becomes the film’s emotional anchor.

Beau (Aden Young - L) stands in a room full of children's toys with Faye (Frances Fisher)

Framing the moral decline of the islanders and anticipating the unexpectedly devastating climax is the natural beauty of Newfoundland. As shot by cinematographer Mike McLaughlin, there’s a steely beauty to the geography, resplendent with rocky cliffs, pounding surf, and gusty bluffs that reinforce the islanders’ isolation.

There’s a fierce pride in their struggle to survive independently, evident in the simple lodgings and the antiquated alarm bell that is rung whenever fishing ships from the mainland stray too close. It’s a chilly, atmospheric calling card for one of the most picturesque provinces in Canada, but it is a perfect complement for the folk horror narrative.

Armed with serene, beautiful cinematography, murky moral developments, and a deep bench of talented character actors, The King Tide is a quiet gem that demands to be seen. It’s one of the year’s best genre films.

The King Tide is in theaters April 26, 2024.

4.5 skulls out of 5

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