A few hours in, I still had no clue whether Émile and Hanna were soldiers, assassins, or something else, and didn’t understand Butch’s role either. Dialogue scenes are often stilted and cheesy, and characters are dropped into the mix so quickly that it’s hard to figure out who they are and what they’re there for. After completing a few chapters in the game however, I noticed that the dialogue could have benefited from some more polish before release. Each story chapter comes with several levels to complete. While you start the game with only two characters in your party, you meet more people along the way, some of whom are added to your entourage. Gameplay-wise, 1971 Project Helios consists of turn-based tactical battles interspersed with dialogue scenes. It’s up to you to find the scientist and save Émile’s family. After confronting Émile and Hanna about what they’ve done, Butch gives Émile an ultimatum: either find Margaret and bring her to him, or have his family killed. He informs Émile and Hanna that his ‘convoy’ consisted of a person, the scientist Margaret Blythe who has since escaped. Shortly after destroying said convoy, you discover that it belonged to Butch, a powerful figure in the game’s world. In the middle of an assignment where an anonymous client has ordered them to destroy a convoy, the two cross a snowy landscape to complete the job. The story of 1971 Project Helios starts in medias res as you start a new game, you control two characters: Émile and Hanna.
Despite 1971 Project Helios’s story being set in an unforgivingly cold and harsh world, the scenery depicted in the game still feels inviting, and it certainly tempted me to jump straight into its story. The character avatars feel authentic and are beautifully drawn, and the soundtrack is great. The game has a distinct and colourful aesthetic. The first thing I noticed about 1971 Project Helios was how stunning its graphics are.
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