Michael Myers beginning the game drugged inside Smith’s Grove gives the story mode a surprisingly deliberate starting point. Rather than dropping immediately into the familiar suburban stalking, the campaign walks through his escape, acquisition of weapons and clothing, return to Haddonfield, and gradual transformation into the masked killer associated with the film. Dashie approaches all of this with little preparation, turning what could have been a straightforward first look into a chaotic mix of discovery, button confusion and improvised comedy.
The campaign itself appears built around recreating and expanding key pieces of Halloween lore. Dr. Loomis narrates much of Michael’s progression, framing each stage as part of his evolution into “the Shape,” while objectives move from the sanatorium and roadside encounters into homes, parties and recognizable confrontations in Haddonfield. Flashbacks to Judith Myers and later encounters involving Annie, Bob, Linda and Laurie give the story a clear connection to the original film, although the gameplay frequently broadens those events into larger sequences involving additional targets and locations.
Mechanically, the footage shows a mixture of stealth, melee combat and environmental interaction. Michael can execute victims through button combinations, hide bodies, cut power and phone lines, move through certain obstacles using a special traversal ability and track nearby targets through detection. Blood thirst and damage states also appear to affect his capabilities. These systems give the campaign more structure than simply walking between scripted kills, though Dashie’s difficulty remembering button prompts means several encounters become trial-and-error exercises rather than demonstrations of how smoothly the mechanics actually work.
That lack of familiarity is both a weakness and a major source of the entertainment. Dashie repeatedly admits he has not properly learned the controls, looks down to remember combinations and occasionally lets victims escape or survives encounters through brute force rather than planning. For anyone hoping to understand optimal stealth, special kills or deeper combat strategy, this is not especially informative gameplay. As a personality-driven first impression, however, the mistakes generate much of the momentum, particularly when he argues with Michael, apologizes to victims immediately before killing them or becomes distracted by irrelevant objects and background details.
The running commentary rarely leaves a quiet moment, and its best material comes from treating the horror scenario as something absurdly ordinary. Michael is told to stop for aspirin, worry about whether the stolen car has enough gas and act casual around police, while hostile NPCs inspire side conversations about auto repair, food and completely unrelated errands. The contrast between Loomis’s grave narration and Dashie’s constant interruptions works especially well because the game itself is taking Michael’s mythology seriously. At times, however, the nonstop jokes obscure dialogue and environmental information that might otherwise help explain objectives or story details.
The latter Haddonfield section gives the playthrough its clearest sense of escalation. Objectives spread across houses and parties, victims begin reacting more aggressively, Laurie fights back repeatedly, and the final escape forces a wounded Michael past police searching the town. That progression provides a satisfying shape to the session despite the loose moment-to-moment play. Dashie also makes occasional choices that reveal how he is engaging with the scenario rather than merely following markers, such as refusing an optional dog kill even while completing required murders elsewhere.
Presentation remains rough around the edges because this is openly a first attempt rather than a polished guide or mechanical breakdown. There are missed inputs, uncertain navigation, confusion over target indicators and speculation about executions that the footage never fully resolves. Still, the energy stays remarkably consistent across a long story-mode run, and the combination of recognizable Halloween material, varied objectives and spontaneous reactions keeps the session moving. By the end, Dashie has learned enough of the systems to make the promise of later online matches feel like a natural continuation rather than an excuse to abandon unfinished mechanics.
Pros
- The campaign follows Michael’s progression from Smith’s Grove to Haddonfield with a clear narrative arc tied closely to familiar Halloween characters and events.
- Stealth, executions, body hiding, environmental sabotage, detection and special movement abilities give the story mode several interacting systems.
- Loomis’s serious narration creates an effective contrast with Dashie’s highly improvisational comedic commentary.
- Dashie’s reactions to victims, police, household objects and Michael himself generate frequent personality-driven humor.
- Later encounters with Laurie and the police provide stronger resistance and escalation than the opening sections.
- Refusing the optional dog kill adds a small but memorable example of the player making his own choice within the game’s objectives.
Cons
- Frequent uncertainty over controls makes several encounters repetitive and prevents the gameplay from clearly demonstrating the combat system’s depth.
- Constant commentary sometimes talks over dialogue and story information that could help explain the campaign more clearly.
- Special executions, target identification and some progression mechanics remain only partially understood by the end.
- Brute-force approaches occasionally replace stealth or planning, making it difficult to judge how well those systems work when used properly.
A strong personality-driven first look carries this Halloween story mode even when mechanical understanding is still developing. The campaign offers more narrative structure and interactive systems than a simple licensed slasher experience might suggest, while Dashie’s chaotic reactions keep the lengthy playthrough consistently entertaining. It is far better as an energetic introduction than as a careful explanation of how the game should be played.
