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How Good Is Halloween: The Game at Actually Letting You Be Michael Myers?

  • Writer: Niels Gys
    Niels Gys
  • 5 hours ago
  • 5 min read

Very good. Possibly better than Halloween: The Game is at being everything else.


Playing Michael Myers isn't just the usual asymmetrical-horror arrangement where the famous murderer gets a large knife, several supernatural buttons and permission to chase teenagers around a shed. The game actually turns Michael's behaviour into mechanics. You watch people. You frighten them. You disappear. You reappear somewhere considerably less convenient. You murder them with whatever piece of suburban infrastructure happens to be available.


And crucially, the game rewards you for behaving like Michael Myers rather than a homicidal Olympic sprinter.


That's the bit Halloween gets right.



Want more games where being the monster is the actual job rather than a cosmetic misunderstanding? Head into our Playable Villains collection and find your next terrible influence.



Stalking Is Actually the Point

Michael can obviously attack people, but immediately charging at everyone would miss the cleverest part of his design. Stalking victims without being detected increases his stalk level. That matters because stalking isn't merely there to make you feel appropriately creepy while staring at someone through a hedge. Building it opens up increasingly elaborate environmental kills, changing the rhythm completely because you're encouraged to hang back, observe and let the victim's situation deteriorate before intervening personally with the customer-service manner of a combine harvester.


It fits Michael beautifully because the 1978 version of the character isn't frightening because he's fast. He's frightening because he is there. Then he isn't. Then somebody turns around and discovers that the six-foot psychopath previously standing behind Mrs Henderson's begonias has somehow acquired indoor privileges.


Killer Sense helps locate opportunities, while Shape Jump allows Michael to rapidly reposition through darkness. Together they produce the essential Myers trick: appearing where a reasonable understanding of pedestrian travel says Michael Myers absolutely should not be yet. That's much more interesting than another killer built around RUN AT HUMAN --> APPLY KNIFE.



Shape Jump Might Be the Best Michael Myers Mechanic

Shape Jump is where the fantasy really starts showing off because Michael's teleport-like appearances have always operated according to horror-film physics. Laurie runs. Michael walks. Laurie runs faster.

Michael continues walking with all the urgency of a man browsing laminate flooring. Laurie reaches somewhere apparently safe.

Michael is already there.

Nobody knows how. Presumably he has an Oyster card.


Shape Jump turns that cinematic nonsense into something the player can actually exploit. Darkness becomes part of your movement toolkit, letting Michael vanish from one position and suddenly emerge somewhere more useful. The result is important because Halloween isn't merely letting you control Michael's body. It's giving you control over the cinematic grammar that makes Michael feel like Michael.


Lots of licensed games get the costume right. This one appears to have studied the bastard wearing it.


Michael Myers inspects a kitchen knife in Halloween: The Game, because apparently the existing knife wasn't quite murdery enough.

Michael has stalking, teleporting and suburban murder covered. See which other games genuinely let you be the bastard everyone else is trying to survive.



The Single-Player Campaign Is Basically Michael Myers School

There's also a six-part solo campaign, consisting of a prologue and five larger chapters. Don't expect Red Dead Redemption 2: Haddonfield. A straightforward run is extremely short, roughly one to a couple of hours according to completed-play coverage. The campaign largely functions as an introduction to Michael's multiplayer toolkit, although ratings, challenges and higher difficulties provide reasons to replay it.


That sounds disappointing if you're buying Halloween primarily for a substantial single-player horror game, because it isn't one. As Michael training, however, it makes considerably more sense.


The campaign gives you relatively open spaces in which to stalk victims, hide bodies, choose attack opportunities and pursue optional challenges. Some objectives involve recreating particular murders from the film. The systems are teaching you that Michael isn't supposed to enter Haddonfield like someone has just rung the dinner bell at a prison canteen. You're supposed to watch, wait, move, terrify, then introduce somebody's skull to an object that its manufacturer almost certainly did not list under Recommended Uses.


It's tutorialisation, yes. But at least it's teaching behaviour that belongs to the character.



The Executions Complete the Fantasy

Michael has weapon executions and contextual environmental kills, with progression unlocking additional abilities, weapons and executions. This matters more than simply having a large catalogue of gruesome animations because the stalking system creates anticipation, Shape Jump creates positioning, Killer Sense helps Michael hunt, and the execution becomes the payoff.


That produces an actual predator loop rather than a collection of Michael Myers memorabilia connected by matchmaking. The game wants the victim nervous before Michael reaches them. It wants Michael controlling when that encounter happens. It wants the environment itself to become part of the threat.


Once you start viewing suburban Haddonfield through that system, household objects stop being household objects. They're murder opportunities with property tax.


Michael Myers has achieved what every estate agent fears most: discovering the area's hidden potential.



Unfortunately, Michael Lives Inside a Video Game

This is where the praise needs a fairly substantial blood-soaked asterisk. Early evidence around Halloween: The Game itself is much shakier than the evidence around Michael.


Completed campaign coverage has already documented bugs including falling through floors and failures when hiding bodies. Other early coverage has described unreliable NPC behaviour, door problems, graphical glitches and performance issues. Early matchmaking has also attracted complaints, while Steam's first public reception is Mixed.


That doesn't suddenly make Michael badly designed. It does mean that a beautifully conceived stalking monster can occasionally find himself trapped inside software behaving as though Haddonfield Council outsourced reality to the lowest bidder.


There is also a bigger unanswered question: novelty. Michael's mechanics fit him extremely well. Stalking is meaningful. Shape Jump is a terrific translation of his screen presence. Executions complete the predator fantasy. Progression unlocks more toys. Whether all of that remains compelling after dozens of multiplayer matches, however, is something Early Access simply hasn't had enough time to prove.


And that matters because Michael Myers has been doing essentially the same thing since 1978. He has franchise longevity. The progression system now has to demonstrate similar stamina.


A survivor runs from Michael Myers in Halloween: The Game as he calmly walks after them, once again treating cardio as somebody else's problem.

Had enough murderers and fancy something financially motivated instead? Our Best Crime Games collection covers the finest digital careers your guidance counsellor mysteriously forgot to mention.



So, Does Halloween Actually Let You Be Michael Myers?

Yes. Not Michael Myers as a skin. Not Michael Myers as a large gentleman whose special ability is being unpleasant near windows. Michael Myers.


The game takes some of the character's most recognisable behaviour and gives it mechanical consequences. Watching victims makes you more dangerous. Darkness lets you reposition. Hunting is deliberate. Murder is the culmination rather than the entire process.


The short single-player campaign appears far less impressive as a standalone attraction, and the wider game has enough early technical problems that declaring Halloween: The Game a triumph would currently require putting several important facts into a woodchipper.


But Michael himself? They understood the assignment.


For once, the scary thing about Michael Myers isn't merely that he's holding a knife. It's that the game understands why he was standing outside the window in the first place.



Halloween: The Game FAQ

Can you play as Michael Myers in Halloween: The Game?

Yes. Michael Myers is playable in both the single-player campaign and the 1v4 multiplayer mode, where one player controls Michael against four human players.


Does Halloween: The Game have single-player?

Yes. It has a six-part Michael Myers campaign consisting of a prologue and five larger chapters. It is short, roughly one to two hours for a straightforward run, and largely teaches the mechanics used when playing Michael.


What can Michael Myers do in Halloween: The Game?

Michael can stalk victims, use Killer Sense to hunt them, reposition through darkness with Shape Jump, use weapons and perform environmental executions. Stalking victims also helps unlock more elaborate kill opportunities.


Is Halloween: The Game only multiplayer?

No. There is a dedicated single-player Michael Myers campaign alongside the main 1v4 multiplayer experience.


Is Halloween: The Game worth it for Michael Myers fans?

If your main attraction is actually playing as Michael, the early evidence is encouraging. His stalking, movement and execution mechanics genuinely recreate his killer fantasy. The bigger question is whether the multiplayer, progression and technical state have enough staying power after the novelty wears off.

 
 
 

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About the Editor
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I'm Niels Gys, founder and editor of CRIMENET GAZETTE. I write about crime, heist, villain, and horror games because somebody has to separate genuine criminal masterpieces from games that couldn't organize a successful mugging.

Outside the website, I'm the frontman of JETBLACK SMILE, a Belgian rock 'n' roll band that sounds like bad decisions played through loud guitars. Turns out writing about chaos, criminals, and morally questionable life choices isn't all that different from writing songs.

I started CRIMENET because too much gaming coverage feels afraid to have an opinion. Reviews become press releases, every game is "solid," and somehow everyone leaves happy except the reader.

Not here.

CRIMENET covers crime, heist, villain and horror games, with GTA Online as one of our main ongoing beats. Not the heroic kind. The kind where you rob banks, build empires, betray your crew, or become the monster everyone else is trying to survive.

I don't do review scores. The internet already has enough people arguing whether a game deserves a 72 instead of a 71, like they're negotiating a hostage release over a single percentage point. I'd rather tell you what the game actually feels like to play and whether it's worth your time.

Every article is built on research, evidence, and an unhealthy intolerance for mediocre game design.

 

Strong opinions are welcome. Invented facts are not.

Think less "trusted reviewer."

More "your inside man in the digital underworld."

I'm not here to save the world.

I'm here to tell you which crimes are worth committing. 🤘

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