Reviews
[Review] ‘Mutant Year Zero: Road to Eden’ Mixes Stealth and Strategy Well, But Comes Up Short Elsewhere
Can The Bearded Ladies bring something new to the strategy table and still provide all that matters to genre fans? Find out in our Mutant Year Zero Road to Eden review.
The XCOM template is one worth replicating for any budding turn-based strategy game. It features a nice mix of action, tactics, and management if done right, but you simply do have to try and balance those three out and add something of your own to succeed (which some haven’t quite managed recently despite decent efforts). Developer The Bearded Ladies’ (great name) Mutant Year Zero: Road to Eden is the latest, and perhaps closest, game to attempt to update the formula.
Set in a future where most of humanity has been wiped out, the last remnants are holed up in rig-like structure, just trying to keep the flame of existence burning a while longer. The only things keeping them alive and safe is staying in their makeshift home and relying on the Stalkers, a team of mutant soldiers (human hybrids of a duck and a boar respectively, at least initially), to bring in supplies from the wasteland. We, the player, are tasked with controlling those Stalkers as they roam outside the safety of their rickety compound.
Mutant Year Zero is a turn-based game, but only for its combat. The rest of the time, you have manual control of your party and their movement around the wastes. This is because the predominant strategy element is stealth, and you’re able to walk the group around the enemies and set them up in real time for an ambush. Enemy vision is dictated by a large red circle that, if you step in it, will more than likely alert them to your presence and give them the upper hand in the ensuing turn-based combat.
Each of your party brings something different to the tabletop. Dux, for example, carries a crossbow, which means that you can quietly pick off a group one by one as long as you keep it out of the eye line of the survivors. That is, of course, if you pack enough firepower and the enemy isn’t too high a level. Others pack heavy artillery for firefights, and all come with upgradeable abilities to deal with ever-increasing threats. So far, so XCOM, even with the free-form stealth.
The stealth is a strange thing to get used to, but once you understand it and use it to nail a succession of strategic takedowns with minimum fuss, it’s a revelation. It genuinely adds something fresh to the turn-based squad strategy model. Any sequel and other turn-based squad games would be wise to try and implement some variant of it in future.
Perhaps the most fascinating departure is how it eschews a hub/mission structure for something closer to an RPG. You can move freely between areas, finding other missions, salvage, and enemies of varying difficulty. You need to manually trek back to the Ark for certain upgrades and equipment and smartly, the game ensures you have plenty of nooks and crannies to dig through as you wander back and forth. The world design is interesting enough that it tells its own story (and Mutant Year Zero is a visually impressive game for its chosen genre). There are traces of what came before the triple threat of apocalyptic events occurred (plague, global warming, and a nuclear war on top) and it’s a shame the story itself doesn’t do more to focus on the history that’s alluded to.
In fact just as the story seems to be going somewhere, it ends in a surprisingly swift and abrupt fashion. It’s almost a cliffhanger but feels like it comes way too early in the game to have been earned. Mutant Year Zero takes around 15 hours to finish and that’s a fine length for how it’s structured as a video game, so the narrative structure should follow suit. It’s unfortunate because the time spent with Dux and company is largely enjoyable and there’s so much more I’d like to know about the world and its history.
Also not helping the story is audio issues. The sound cuts out intermittently at the start of every cutscene and new area. A patch has smoothed some of this out since I finished the game, but unfortunately, it didn’t come quite soon enough. It’s still there on occasion, but it is at least much better now.
Mutant Year Zero: Road to Eden is a positive step in the right direction for the future of turn-based strategy on a mechanical level, but it finds itself lacking in the storytelling department. Hopefully, we get more from this world. A bigger, deeper sequel is a must at this point because there’s huge potential for Mutant Year Zero to be a frontrunner in the strategy arena.
Mutant Year Zero Road to Eden review code provided on PS4 by the publisher.
Mutant Year Zero: Road to Eden is out now on PS4, Xbox One and PC.
Carlo Collodi’s The Adventures of Pinocchio was written nearly 150 years ago, and yet it’s still considered to be the ultimate parable about the fundamental human experience of learning right from wrong and the importance of empathy.
Its message is still evergreen, and the reason that two separate big-budget Pinocchio films by auteur directors were released in 2022. And yet, it’s a story that also has creepy enough bones to fuel a really potent horror film when properly executed (please watch Pinocchio’s Revenge if you’ve never seen that piece of dark, gonzo filmmaking before).
The Twisted Childhood Universe – or TCU, if we must call it this – has largely been more hits than misses. That being said, Pinocchio Unstrung isn’t just a surprisingly entertaining horror film, but it’s a genuine love letter to practical effects and old-fashioned animatronics instead of being some cheap CG slog. Rhys Frake-Wakefield has crafted a disturbing reimagining of Pinocchio that doesn’t get its strings tied up in knots.
In Pinocchio Unstrung, James (Cameron Bell) loses his mother and best friend, so he’s sent to live with his grandfather Geppetto (Richard Brake, 3 From Hell), who seems detached and isn’t necessarily the best role model for this grieving boy. There’s actually a fairly interesting idea here by having both Pinocchio (Jude Evan Lloyd) and a real boy living with Geppetto, while Pinocchio forms a frightening attachment towards James.
Geppetto built Pinocchio for James so he can have a friend, rather than it being a creation to heal his own sadness and loneliness. This heads into even more tragic territory for this vulnerable boy that feels like something that’s more akin to The Boy, Child’s Play, or even the later Puppet Master sequels, rather than Pinocchio. This Pinocchio wants more than to just be a real boy. He wants to be James’ “best mate” and a real friend, which is achieved by killing the various people who have wronged him in life and gotten in James’ way.
Going against Geppetto’s wishes, James brings Pinocchio to school and chaotic carnage ensues as the student body – particularly James’ bullies – become casualties in this macabre learning experience. The messaging is very heavy-handed, which is not unexpected for a film of this nature, especially one that’s pulling from such a moralistic fairy tale in the first place that’s designed to teach lessons.
To the film’s credit, there are some genuinely creepy and unnerving scenes during the film’s first act when Pinocchio bonds with James and demonstrates a fascination with his anatomy and how they’re different. Pinocchio also acquires a checklist of body parts, skin, teeth, hair, eyes, and items to become a real boy. This, while formulaic, is the right style of creepy for this film. It provides a clear focus and trajectory for what’s to come, but also facilitates a lot of gruesome gore.
There are actually some decent gore effects that are well-executed, even if some of them have weak and unearned setups. Obviously, a film like this is trying to be tongue-in-cheek and doesn’t strive to be taken as high art, but it could work a little harder to build to its gory setpieces instead of just throwing them out there and making it seem like it doesn’t care about anything else. A second pass could have helped refine a lot of these elements and turned this into something truly great, rather than operating like a clunky series of poorly written scenes that are designed to string together exaggerated deaths.
These vicious kills are very Terrifier–coded and, on their own, aren’t bad and should please the gorehounds in the audience. There’s an inspired “nose kill” that Pinocchio Unstrung holds off on, but is worth the wait. Pinocchio Unstrung is arguably the goriest of the TCU films, which is a step in the right direction, even if other elements are lacking. In the end, there’s effort here, and director Frake-Waterfield is genuinely trying, even if some of his instincts are misguided or need to be sharpened. For instance, there’s a running throughline where Pinocchio wishes that he had had a penis.
Robert Englund delivers a committed and satisfying performance as Cricket, Pinocchio’s de facto conscience. However, Frake-Wakefield also includes a ridiculous “Wood Mother” concept, which is another wooden abomination who is there to get in Pinocchio’s head. The Wood Mother is presumably meant to be a Blue Fairy analogue, but she just feels extraneous and an excuse to show off more animatronics. Somehow all this leads into a story about rebirth and immortality as the film broadens its scope, which doesn’t always work in its favor. There are plenty of ideas here that are interesting, but ultimately half-baked.
When it comes to Pinocchio himself, the titular puppet’s design initially feels a little lacking, albeit still creepy. Fortunately, it actively improves throughout the film as Pinocchio builds upon his anatomy and “becomes” more human. It also doesn’t hurt that Jude Evan Lloyd is actually a competent actor and a worthy foil for Pinocchio.
Most importantly, it looks like a real movie and features some compelling lighting, which is more than what some of the earlier Twisted Childhood Universe films can claim.
To this point, Pinocchio Unstrung proudly boasts that the film is all done with practical effects and puppetry, which makes such a difference. There’d be no point in even making this movie if it didn’t commit to this practical authenticity. It’s not just a better movie because of this, but it reflects a respect and passion for the craft that’s lacking in other TCU entries. It’d be very easy to cut corners here, and so it’s appreciated that it puts in the effort and goes the extra mile. There’s also a really effective shadow puppetry introduction that’s reminiscent of 2021’s Candyman and a great way to kick off the movie.
Pinocchio Unstrung gradually finds its rhythm and confidence as it goes on, just like a young boy who is figuring out his way in the world. It develops a genuine personality by its end, and there are some weird, unique scenes that really unexpectedly go off the rails and transcend anything from the other TCU films. The place that the film ends is legitimately shocking and feels completely different than the type of movie that’s initially teased. This sort of radical pivot is worth it and turns Pinocchio Unstrung into something weird and wonderful, even if a lot of it still doesn’t work. It deserves credit for taking such big swings, even when they’re unsuccessful.
Those who were left empty from Winnie the Pooh: Blood and Honey and its various offshoots may be pleasantly surprised by this. It actually manages to say something about identity, morality, autonomy, and rising above the expectations that are placed on us, which seems like an insane thing to say for a film like this. It’s a morbid, mindless way to spend 80 minutes.
By the end of this experience, Pinocchio Unstrung transforms from a wooden concept into a real horror film.
Pinocchio Unstrung releases in theaters on July 24, 2026.
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