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Halo Fest 2020 – Spartan Strike

I bet you thought this was going to be about Halo 5, didn’t you? Nope! We’re talking about the 2015 sequel to Spartan Assault, Halo: Spartan Strike! As with Spartan Assault, I didn’t know much about Spartan Strike before starting Halo Fest. Less so, in fact, given that it’s not even available for Xbox, sadly having never managed to make the leap from its original Windows and mobile versions. I honestly wasn’t even sure I was going to cover it because of that, but given how relatively small of a time commitment these games are coupled with the fact that both of them frequently go on sale on Steam for literally only a couple of bucks, I decided just to go for it.

“Point holding in the steamy jungles of Gamma Halo.”

So, this is the first time I played a game on PC for this series. That wouldn’t be too notable, but given that it’s a twin stick shooter and I’m playing with keyboard and mouse instead of, you know, twin sticks, it seems pertinent. Actually, the keyboard and mouse control scheme is totally fine; you move, change weapons and grenades, and interact with your keyboard, and target and fire with your mouse. The limited directional movement is a little awkward, but other than the lack of an analog stick for speed (which occasionally resulted in what I assume is a bug where my character would get stuck walking despite there being no way to make him move that slowly on purpose) it’s simple and intuitive enough. In fact, I think I might have preferred it – I felt more like I was playing a hybrid RTS, something like Dawn of War 2, than a twin stick shooter. My only real complaint was an inability to shoot for a few seconds after throwing a grenade most of the time. I don’t know if this was intentional or a bug, but it was jarring in either case.

Graphically, relatively little has changed since the previous game. I think the it looks just a bit more detailed than Spartan Assault, but that may have to do with the more interesting locations these operations are set in than anything technical. Outside of the action, Spartan Strike keeps the combination of motion comic style cutscenes narrated by the Infinity’s AI Roland for each operation while each mission is presented by a map and a text blurb that describes the scenario. While the mission briefings are somehow a step back, losing much of their flavor, the artwork used in the cutscenes this time around is pretty damn awesome. See the Promethean Knight screenshot below for an example. The soundtrack receives an upgrade too. It’s almost like the developers realized they actually hired a competent composer in Tom Salta after the first game’s reviews (and his excellent work on Halo 2: Anniversary) and decided to turn him up in the mix a bit. I found myself really noticing and appreciating a lot of the music here, perhaps a first since 343 took over the franchise.

“Turrets and vehicle weapons no longer overheat. Great for me but not so much for these Covies.”

Gameplay wise, Spartan Strike doesn’t veer too far from what its predecessor did. Only, between the mysterious Lt. Kwon keeping us company Cortana style (seriously, who is this person?) to the missions feeling both a bit more varied and a bit closer to a mainline Halo game in complexity, I actually enjoyed Spartan Strike just a bit more. The only downside to this added complexity is that without any way to save your progress during these missions, despite their relatively short length, dying near the end of one can be frustrating. Of course, there are the conventional changes too: more weapons, armor abilities, and vehicles, not to mention more enemies with the introduction of Prometheans to the mix. Despite all of the complaining I did about them in Halo 4, I actually really like the way the Prometheans and their gear were implemented here. It’s not all good news though. While they addressed something I complained about last time by finally introducing the Warthog to the game, the poor thing feels uncharacteristically slow and handles like a cinder block. Come to think of it, the Ghost is rather slow too, so perhaps this is some kind of a limitation of the engine?

Like Spartan Assault before it, Spartan Strike’s story takes place sometime after the end of the Requiem Campaign from Halo 4’s Spartan Ops and is framed around Spartans aboard the UNSC Infinity using a TACSIM training simulator to experience historical battles, only this time they’re extra secretive ones. OooOOooh! The first episode takes place during the events of Halo 2 while the rest take place around the events of Halo 4. In a big departure from the first game, you’re playing an anonymous SPARTAN-IV rather than a named character. In fact, in the first operation your character is standing-in for the squad of ODST who actually originally took part in the mission. Well, it is a simulation, I guess?

“Guess whose back!”

That being said, given that the story we’re actually focused on (the one being told via these simulations) takes place out of chronological order, I’ll go over the plot here. While I try to be somewhat vague with these summaries they do still contain spoilers, so skip the next paragraph if you want to avoid them.

The Story: In 2552 during the Battle of New Mombasa ODST squad Alpha-Five recovered a Covenant datapad containing details about a Forerunner artifact called the Conduit. Using the information on the datapad to track down the location of the Conduit, the team were able to eliminate a Sangheili Field Master and his retinue and acquire it. In the process of Alpha-Five transporting the artifact to safety, the Prophet of Regret’s carrier, the Solemn Penance, executed a low orbit slipspace jump over the city to devastating effect with the squad lost and the Conduit presumed destroyed. Five years later, researchers aboard Ivanoff Station detect what appears to be the Conduit’s signal on the surface of Gamma Halo. In response, the UNSC dispatches a SPARTAN-IV Headhunter to investigate. Discovering that Jul’Mdama’s Covenant faction is also on Installation 03, the Headhunter tracks the Conduit to a Forerunner facility called the Altar where the Covenant are using it to open slipspace portals to allow their Promethean allies to invade the ring. After a number of fierce skirmishes, the Headhunter is able to recover the Conduit and safely transport it off of the ring. Not long after, an urgent message is relayed from scientists at an ONI research facility in New Phoenix. The Covenant had activated the dormant slipspace portal the research facility was built around, with Covenant and Prometheans now pouring into the facility and surrounding city. Researchers believe that by using the Conduit they may be able to force the portal closed. Rushing back to Earth, the Headhunter is able to work with UNSC forces on the ground to secure access into the facility and ultimately halt the invasion, although the Conduit was once again lost in the effort.

I don’t have too much feedback to give about the story this time around. It’s fine. While there are aspects I don’t love (such as the Conduit’s all too convenient ability to teleport itself) I personally like that they’re trying to wedge the story into the existing events we know and love from the mainline campaigns, even if it does feel a little contrived at times. I mean, after enjoying Spartan Ops I’m definitely up for any inclusion of Jul’Mdama’s Covenant faction! I also believe this is the first time we’ve seen Spartan Headhunters featured in a game. Neat. As with Spartan Assault’s story, it’s really nothing too groundbreaking and while it might not do much to expand the Halo universe, it at least feels appropriately Halo-y and (as far as I know) doesn’t wreak havoc with the existing canon.

“Obligatory tank screenshot. This time, starring the voluptuous M850 Grizzly.”

Finally, I have to mention Operation E: Brother’s Keeper. This the last operation in the campaign but it can only be unlocked by beating every mission in the game with a gold star rating. As with Spartan Assault, there is no difficulty level in Spartan Strike, rather you’re awarded a different star rating at the end of each mission depending on your score. The easiest way to ensure a good score is by earning medals, and the main way to earn medals is by chaining kills. Considering this is a game all about mowing down masses of enemies, that’s not a huge ask. The first time through the campaign I got gold stars on probably 65% of the missions, and half of the ones I didn’t, I was extremely close to. Irritated by needing to replay missions to progress, I almost didn’t bother with the last operation at all, but not focusing so much on the “Assault Ops” challenges I found that most of them were a cakewalk to get gold on the second time around. Those that weren’t, I just spent my pool of otherwise unused credits on “score boosters” for. The operation itself though? The action was fine, but instead of a “real ending” or some kind of epilogue, the story was an odd, pointless retread of the rest of the campaign. Maybe if it were a hidden bonus rather than taunting you from the mission select menu I wouldn’t have cared quite so much.

So despite enjoying my time with the game slightly more than with Spartan Assault, I’d ultimately have to come to the exact same conclusion about it. That is, Spartan Strike is a decently executed, reasonably fun game that isn’t a bad way to spend 5 or 6 hours, especially if you particularly enjoy twin stick shooters and/or are a big Halo fan. However, at the end of the day it and its predecessor were more like experiments than an essential parts of the franchise. Now, at long last we move on to Halo 5…

Halo Fest 2020 – Nightfall

Halo: Nightfall is a live action digital series that was released as part of the Master Chief Collection in late 2014 as a promotional tie-in with Halo 5. I’d never seen Halo: Nightfall and knew only the scantest details about it before watching the feature length movie version for this post. While the parallels with the previously covered Halo: Forward Unto Dawn should be obvious, Nightfall feels a lot more like a legitimate movie that was chopped up to make a series than a series of separate shorts that were edited together to make a movie and, despite having similar budgets, Nightfall also features a lot more effects, more notable actors, and was produced by legendary filmmaker Ridley Scott’s production company. It’s certainly equally as ineffective as a tie-in to the game it is associated with, though!

“Alpha Halo, a little worse for wear after Master Chief’s visit.”

That is, Halo: Nightfall was supposed to be something of an origin story for Jameson Locke who we’d come to know as Spartan Locke, one of the main characters featured in Halo 5. The problem is that by the time we meet Locke in Nightfall he’s already pretty much the same character we get to know in-game, and while it’s not a bad introduction to him, we definitely learn a lot about who he is in the sense of his personality and values, there’s not much else there, nor is the overall story significant to the plot of the game either. That said, since it is a side story let’s just dive right into spoiler land! Skip next two paragraphs if you want to avoid a somewhat vague plot summary and some random but specific nitpicks.

The Story: Lieutenant Commander Jameson Locke and his four-man Office of Naval Intelligence team operating on the colony world Sedra track an Elite Zealot to the center of Sedra City where it detonates an unknown device. The device unleashes a never-before-seen element deadly to humans, resulting in a large number of casualties. Investigating, the ONI team discovers that the Elite acquired this element from smugglers who harvested it from a semi-intact fragment of Installation 04. Orbiting close to a sun, the ring fragment’s surface reaches extreme temperatures when directly facing it, making only short visits during its night cycle possible. Locke and his team devise a plan to head to the fragment, arrest any smugglers they locate, and, as it’s believed to be the sole source of the element, destroy it with a Havok nuclear warhead. The team is granted use of a slipspace capable Sedran Colonial Guard ship to make the journey, but only under the condition that they’re accompanied by members of the Sedran military. Arriving at the fragment, the joint team quickly locates the smugglers but are attacked by a swarm of Lekgolo, killing several of them and downing their ship before they can extract. With no way to call for help and only the smugglers’ small ship left intact, the team decides to complete their mission and journeys on foot to retrieve the warhead. With their numbers dwindling as they’re pursued by the Lekgolo, the group eventually has to shed most of their technology when they learn that the Lekgolo can track them by it. With time running out of time and desperation setting in, Locke’s remaining two agents take the rest of the team by surprise, taking a hostage and making their way back to the ship to save themselves. With few options left, the commander of the Sedran team, Colonel Aiken, a former SPARTAN-II who lost his only child to the terrorist attack, volunteers to manually detonate the warhead while Locke and Macer, the only other surviving Sedran soldier, attempt to intercept them. The pair reach the smugglers’ ship just in time to witness the Lekgolo finish off the last of them and swarm the now powered-up ship. Aiken begins to activate the warhead, drawing the Lekgolo away and giving Locke and Macer the window they need to board the ship and escape the fragment before it is obliterated.

“Locke, James Locke. Our protagonist.”

While we’re told Sedra is surrounded by conflict and that the Sedrans have this archaic warrior culture (err, they still believe in Valhalla?!) we’re shown exactly none of this. Maybe this was a budget thing, but then why mention it at all? The almost constant tension between the ONI agents and the Sedran soldiers felt more than a little contrived and I found Colonel Aiken’s over-the-top combativeness to be especially unbelievable, even if it is explained by his backstory. Speaking of which, I really don’t buy him as an ex-Spartan. Furthermore, even knowing his backstory, Aiken wanting to sacrifice himself due to losing his daughter is a little lame for reasons I feel best described towards the bottom of this lengthy (and otherwise much more positive) article by Haruspis. Also, why in the hell was getting the Havok right then and there so damn critical? Why not just get out of dodge now and destroy the fragment later? The sad part is that I think the premise of the story actually works on paper, and while it might not have been an amazing Halo movie, it could have at least been much more entertaining if executed differently.

Thankfully most of my issues with the execution are wrapped up in those kinds of details. While some of the CGI is pretty bad, the majority of the practical effects, costumes, and props are quite excellent. The actors are all also mostly good despite being betrayed by the script a bit, with a pre-Luke Cage Mike Colter giving a typically solid performance as Locke. Another likely budget related letdown is the rather boring filming location in the latter part of the movie. While I get that the place they’re at is supposed to be destroyed, I can’t help but imagine how cool it would be if it resembled the games more closely. Speaking of the games, the soundtrack is another letdown. I’m sure it’s fine, but I literally remember nothing about it, and that really isn’t good enough for a game franchise whose soundtrack has always been a huge part of the formula.

“The combined team on the fragment. Love those ODST helmets!”

I feel like I’m being quite negative here, but Halo: Nightfall isn’t that bad. It’s entertaining enough to watch through once, sure, but it earns the “entirely skippable” I tagged Spartan Assault with and then some. In fact, unless you’re really curious about it and/or just have to consume everything Halo related, I’d suggest skipping it. At least I still liked Locke by the end of it so maybe that at least bodes well for my playthrough of Halo 5 when I eventually arrive there. Maybe? In any case, like Forward Unto Dawn before it, Nightfall still fails to deliver on a strong effort to make Halo a crossover success. At this point our only remaining hope is the 2022 series, and skepticism already abounds about that one.

A quick extra mention goes to the “Second Stories” bonus content that was released on the Halo Channel as something of an in-universe version of the after-episode shows that have been popularized with some of the bigger television series in recent years. While these shorts do contain interesting details that help fill in some gaps in the story, I can’t say they impressed me much. Still, they’re definitely a very notable but easily missed part of Nightfall.

Adventure Break!

My partner and I decided to do a quick co-op play through one of the numerous FMV style games we’ve been seeing all over the Xbox Store for years now. Most of these games (titles like The Bunker and The Infectious Madness of Doctor Dekker) are put out by a publisher called Wales Interactive, though despite similarities, they’re actually developed by a variety of different studios. I guess Wales is trying to corner the market on modern FMV games? Regardless, the one we ended up picking was Late Shift.

Late Shift follows Matt, a 20 something working as an attendant on an overnight shift in a parking garage in London. Almost immediately events on this particular evening lead to Matt being caught up in a criminal plot and, well, to go much more into would spoil things. The story is all, honestly, pretty silly fun. It’s not over the top campy, and the excellent production values lend the whole thing a more serious tone than it probably deserves. That‘s the part where I was pleasantly surprised, actually. The production, direction, acting; they’re all surprisingly good. As a movie it might not win any Academy Awards but as a game? Maybe this comes from playing too many FMVs in the 90s, but I tend to expect a certain amount of grade-a terrible from my FMV games. I mean, that’s the main draw to people going back and replaying them these days, right? On the other hand, Late Shift feels like it actually had a budget. Pfft!

“Things go off the rails in Late Shift quite quickly.”

Another interesting thing about Late Shift (and from what I gather, most of these other Wales FMV games) is that they’re not what a lot of us old timers would think of when we think of FMV games. In the 90s most FMV games were simply games that used copious amounts of embedded video sequences and/or cutscenes, and maybe some digitized spites for good measure. Gameplay wise, while some were games of a distinct genre that got slapped with the label simply for featuring a lot of video, the majority of these games weren’t far off from the classic point and click adventure game formula, though the more they leaned on video the less interactive they tended to be.

Late Shift takes that to the extreme, being something more along the lines of an interactive movie; imagine a Telltale game with nothing but cutscenes and decisions, or Dragon’s Lair with all of the input relating to decisions rather than quick time event like action. This made me think a lot about a similar game I played before Late Shift, but one I never wrote about here due to it being presented as less of a game and more of an interactive movie. Netflix’s surprisingly high profile experiment Black Mirror: Bandersnatch. The idea of an interactive movie played with just a remote isn’t really anything new; there were various similar games released when DVD first started blowing up (including a version of the aforementioned Dragon’s Lair) and I suppose it makes even more sense with modern streaming technology.

“Your average Bandersnatch dilemma.”

Really, Bandersnatch is quite interesting in its own right. It’s about a budding game developer in the days of the UK’s storied early 1980s bedroom programming scene. This is a pretty damn esoteric subject to most Americans, but it’s one I happen to be into so I was sold on the premise alone. As you follow the main character Stefan through being offered a job at a game studio alongside one of his programming idols, Colin, you’re occasionally prompted to make decisions to progress the plot, and believe me this, it goes all over the place. Indeed, Bandersnatch is far from a straightforward experience. Fitting with Black Mirror’s overarching themes of the existential dark side of modern technological advancement, the fourth wall is broken in numerous ways throughout, and the game itself is all too happy to punish you for picking the obvious “right” choices, leading to dead ends and other unsatisfying endings which ultimately encourage or otherwise manipulate you to replay the game multiple times, exploring the branches of its decision tree ad nauseam. In some ways, this reminds me a lot of how old classic adventure games were intended to be played; by sinking endless hours into them to figure out solutions to every puzzle on your own through copious amounts of exploration and trial and error.

“Shit continues to escalate in Late Shift…”

Late Shift is far more traditional in this respect. It doesn’t try to play clever mind games with the player. You’re simply making decisions as presented to you and watching how those choices affect the events of the story until eventually reaching one conclusion or another. There’s no complicated decision structures that need to be charted to be understood, nor any trick options or any other elements of subversive design here. In fact, compare these flowcharts based on the choices for both games: Bandersnatch vs Late Shift. It should be noted that Late Shift features a lot more choices than shown here, though those not represented in this flowchart tend to lead to minor varations in scenes rather than major branches of the plot. Also, try not to pay too much attention to the details, as these charts are absolutely spoiler ridden!

That might sound (and look) like a mark against Late Shift, but to me, this made it a far smoother and overall, more digestible experience. The game is perfectly happy with you playing it once and never touching it again, and none of the endings felt overly abrupt or unsatisfying. If you do feel like playing through it again, choosing radically different decisions as some might do with, again, a Telltale game, the game does provide enough different scenarios and other variations to be satisfying to play through 2 or 3 times. While Bandersnatch may have failed in some respects, I immediately went out and added some of Wales Interactive’s other FMV games to my wishlist upon beating it. I’m just hoping I didn’t spoil myself by trying one of the better quality ones first. I suspect I might have.

“Tell Me Why’s scenery is as chill inducing as it is beautiful.”

Speaking of adventure games, we also played through the next of Dontnod’s games, 2020’s Tell Me Why. Tell Me Why tells the story of two college aged siblings reconnecting to clean up and sell off their childhood home, naturally leading to some tying up of other loose ends concerning their family’s dramatic past. Tell Me Why is also a transgender story, although these elements are handled with a subtly that ultimately makes sure they’re not the focus of the story, despite being pivotal to it. Instead, the most intriguing parts of the story are about our characters’ unusual relationship with their mother, an artist who seemed to embrace fantasy as much as if not more than her children, and as usual with Dontnod games, the compelling setting; this time it’s a picturesque small town in Alaska.

As you might have guessed, this is a much more personal story than any of the Life is Strange games, focusing more on the interpersonal and slice of life aspects of those games. While there are some bigger plot elements, the stakes don’t ever feel quite as high as stopping a serial killer or being on the run from the authorities for a murder you didn’t commit, to use two very specific examples. Part of that has to do with so much of the game being about the past; examining nearly forgotten childhood memories, trying to find answers to questions that had been bouncing around for most of the protagonists’ lives, that sort of thing. The lack of urgency is a bit of a tonal shift, and if, like my partner, you’re the type of person who doesn’t find a lot of value in obsessing on the past, you might even fail to connect to the story entirely like she did.

“Unpacking emotional baggage in Tell Me Why.”

Gameplay-wise, Tell Me Why feels very much like it could be a part of the Life is Strange series, so if you’ve played any of those games then you pretty much know what to expect. Of course, even between games in the LiS series there are numerous mechanical changes, and Tell Me Why is no different. One big one is that the journal is gone, replaced with a book of children’s stories which is occasionally (and rather obtusely) used to solve puzzles. As is always the case in those games, the supernatural power your characters possess is new and different too. And yes, “characters”; you play as both siblings at different parts of the story. A rather huge departure is that I feel like exploration is a bit less of a focus in Tell Me Why. While mechanically it’s just as present as in any of the previous Dontnod adventures, I rarely found any point to it. Descriptions of items were less interesting and insightful, and it was rare to find anything useful in the world. For that reason I didn’t really engage with the collectibles this time around, which is a first for me in these games.

Still, I really enjoyed Tell Me Why, though the particular story and some elements of its storytelling mean it’s less likely to stick with me than any of the previous Life is Strange games. Regardless, after playing this I’m even more curious to check out Dontnod’s next and seemingly least popular adventure game, Twin Mirror. Soon enough, but for now I better get back to Halo Fest…

The Black Mirror: Bandersnatch screenshot above was taken from a random image search result rather than my own Xbox. I found out the hard way that you apparently can’t screenshot the Netflix app. Shenanigans…