spoiler (H3)

Halo 3 spoilers.

Halo 3 User Reviews

Developer: 
Bungie Studios
Publisher: 
Microsoft Game Studios
Platform/OS: 
xbox 360
Halo 3 Logo
Release Date: 
25 Sep 2007

The final game in Bungie's original Halo trilogy of Xbox FPS games chronicling the story of the Master Chief and Cortana.

On Firefight

It's not hard to see the appeal of the idea of the Firefight mode in Halo 3: ODST. If you follow Bungie's shooter roots back to Marathon, and to the PC shooter that really kicked off the modern era, Doom, you can see the start of it.

Doom didn't have discrete multiplayer 'levels' the way Marathon and Halo did. It had a series of Episodes, each broken down into Missions that comprised one map. Each map had a series of keys necessary to open a series of doors. The last door was the Exit and led to the next Mission. Between you and each key and each door were a number of demons to kill. You could tackle this challenge solo, or bring in some friends on a local network.

Of course, you could just as easily shoot your friends as the demons. You could also set up a game on any Mission map without any demons and just play deathmatch, or you could play a deathmatch game with continually respawning demons on it.

Marathon had a similar setting, an "Aliens" checkbox that put enemies from the campaign mode onto the multiplayer maps. So while it wasn't always referred to the same way, Marathon had all the current play modes: campaign solo, campaign co-op, multiplayer (deathmatch and objective) and deathmatch-with-aliens. That's essentially what Firefight is, except it's supposed to be more towards cooperative.

So we can now safely say that with the release of Halo 3: ODST, in combination with Halo 3's multiplayer mode, has finally brought all the features of a 1994 Mac shooter to Xbox Live.

I'm only half kidding.

Building Better Bosses

I'm returning to a fundamental theme of my first entry: the tension between the need (or desire) to tell a story in a particular way, and the need to keep the player involved and immersed - by maintaining the consistency and believability of the game-world. Once again I have specific Halo examples in mind - the boss-battles in Halo 2, and Halo 3. Obviously, this means Halo 3 Campaign spoilers, so stop reading here if this is a problem for you.

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What exactly is a boss-battle? Looking at Halo 3, each Scarab encounter might be considered a boss-battle, and the final encounter with 343 GS is most definitely a boss-battle. In each case, you're fighting an opponent with vastly superior fire-power and very specific vulnerabilities. That's about as good a definition of a boss-battle as I think we're going to get. Personally, I find that the Scarab-battles are enjoyable to play, whereas 'fighting' 343 GS is a chore which detracts from my enjoyment of, and immersion in, the game.

The critical differences between these encounter-types seem to boil down to flexibility and consistency. Taking flexibility first; though there's ultimately only one way to destroy a Halo 3 Scarab (by attacking the power core), there are so many ways to achieve this that the player has great freedom of action and scope for tactical invention. There's only one way to kill 343 GS, one weapon which can do it, and one place from which it can be done. That's not gameplay - it's ritual.

The consistency issue is rather less clear-cut. Though the Scarab's tactical weaknesses and vulnerabilities (for example, the slow traverse speed of the main cannon, the squat-when-legs-damaged behaviour and the rear armour weakness) are slightly artificial, they're not flagrant violations of the physics and conventions of the game-world - just typical examples of compromises which must be made to balance gameplay and stay within hardware limitations.

The case of 343 GS, however, is significantly different. Guilty Spark's beam-weapon is so powerful that the player can only survive by dodging. In order to make this easy and convenient, Guilty Spark's normal ability to pivot rapidly on the spot has to be degraded so far that he'd have trouble tracking an elderly tortoise with his all-conquering red death-ray. Then there's his irresistible field, which could so easily push the player straight over the edge of the catwalk, if 343 GS just moved a few metres to the side. This field seems to exist primarily in order to keep the player confined to one small area so that he'll be able to pick up the Spartan Laser from Johnson before Guilty Spark recovers from the first blast - which has such notably different effects from the subsequent ones. This encounter isn't just artificial and contrived - it's blatantly artificial and clumsily contrived.

Before going on to the questions I've just begged - why Bungie would do this, and how they could have avoided it - it's worth comparing my two examples with their counterparts in Halo 2. Halo 2's Scarab could only be boarded from tall structures (requiring very specialised level-design), and was completely invulnerable to the player ("Bullets won't stop it, rockets won't stop it - we may have to use nuclear force scripting and a cutscene!"). The Halo 3 Scarab has been comprehensively redesigned with an eye to improving gameplay, reusability and functional transparency, and I think most players would regard it as a resounding success. How does Halo 3's Guilty Spark boss-battle compare with its Halo 2 counterparts; the encounters with the Heretic Leader, Prophet of Regret, and Tartarus? My own reaction would be - it's easier, quicker and less annoying. Clearly, that's an overall improvement, but it's also rather faint praise - especially when we consider why the Guilty Spark boss-battle should exist in the first place.

We can now answer that last question with some confidence, thanks to N'Gai Croal's recently-published interview with Joe Staten. Staten's comments regarding the Halo movie attracted the most attention at the time, but the following section was what caught my eye:

"I think that was one of the more satisfying moments in Halo 2: jumping on the Prophet of Regret's throne and beating him up while he's yelling at you. That was something we always wanted to pull off in the first game, but didn't have a chance to do that."

Joe Staten's idea of fun is obviously a little different from mine, but the implication is clear. Staten. and presumably others at Bungie, consider that the player will so thoroughly enjoy taking personal revenge on certain characters that it's worth expending developer effort on special-case code - and completely violating the canons of Halo gameplay - in order to achieve this. While most of us would probably agree that - in the abstract - personally fighting and beating an arch-enemy could be satisfying, I'm fairly certain that for many of us, 'satisfying' isn't the adjective which springs to mind when we think of these encounters. In the case of Guilty Spark, the combat is so heavily constrained (presumably to minimise player frustration) that it becomes, quite simply, perfunctory. The lack of challenge translates directly into lack of satisfaction, thus rendering the whole encounter largely pointless.

As for the alternative to a boss-battle, that's obvious - a cutscene. Truth's death is handled that way, and though I don't rate that particular cutscene very highly, I still think it's preferable to Player vs. Regret, Round 2. The Guilty Spark battle is, in fact, already just a brief interlude of (limited) player control between two cutscenes - and I'd argue that the whole sequence would work better, and be more involving, if the combat was represented as a climactic action scene. By way of compensation, the cutscene could end after Johnson's death, leaving the player to press the final, fateful button and make his own way to the door.

Some (perhaps many) of you may wonder why I've expended this much time and effort on this subject. There are two parts to the answer; the first is that I've enjoyed the Halo series so much that any perceived blemish - especially if it's the result of a design decision - is especially disappointing. The second part of the answer is that this is a good example of a type of error (as I see it) which I observed many times in my own games industry career. Sometimes I was been able to talk people out of it, sometimes not. This final section is effectively a compendium of all the things I wish I'd said in the course of those arguments.

Fundamentally, I dislike the Guilty Spark boss-battle because it's clumsy and inelegant - the relevant paragraph above spells out why, and I won't repeat it. It's a multiple violation of the most basic maxims of design, valid in literature, art, engineering, formal logic and many other disciplines - economy of means, and self-consistency. These two concepts are closely related, and in practice it can be hard to draw a dividing line between them. The first principle turns up everywhere from Occam's razor (Do not multiply entities beyond necessity) to the KISS rule; 'Keep It Simple, Stupid'. The second principle - self-consistency - is an absolute rule in any rigorous or quantitative discipline, but also appears in many artistic contexts - the Classical Unities, the scorn visited upon an author who lazily introduces a deus ex machina, and the 'fair puzzle' rule of the classic detective story, for example.

Neither of these maxims is an absolute in game design (or any other artistic endeavour), but experience suggests that you should think long and hard before - and after - you break them. It's worth remembering that when programmers do this kind of thing, the resulting code is almost always infested with bugs. Restating my point (one last time) in terms specific to game-design: Whenever you're tempted to include a feature which will require special-case code, used nowhere else in the game, treat this as an urgent warning sign. Red lights should be flashing and sirens whooping in your head. Step back and think about what you're trying to achieve in broad terms, rather than blindly pursuing one specific scenario. Is there really no way to accomplish your underlying purpose within your existing game systems? Or is there a consistent way to extend these systems which will pay off in richer gameplay throughout the game? Since this sort of case should usually be identifiable early in the design process, there should be time available to come up with a superior solution.

Halo 3 Soundtrack Adds Epic Sound To Epic Scenes: Part One

Halo 3 Soundtrack Adds Epic Sound To Epic Scenes: Part One

DISCLAIMER:

First and foremost I must admit that I am not a professional music writer or reviewer and I do not habitually review music. As such I may have misused key pieces of musical vocabulary or even misidentified instruments. I hope the audience will bear with me and that in those cases my descriptions are specific enough, if misguided, to get my meaning across.

Secondly, as the Halo 3 OST itself is arranged in such a way as to replicate the sonic experience of playing the game, I have made no effort whatsoever to separate in my mind, or in this review, the experience of playing the game from the experience of hearing the soundtrack. I feel the two are designed to reinforce each other, and this article is, as much as a review, an attempt to examine some of the ways in which it does this.

Lastly, if you haven't finished the Halo 3 campaign, don't read the below-- it contains spoilers!

It's hard not to be effusive about the soundtrack for the Halo series of games, composed and arranged by Marty O'Donnell and Mike Salvatori. As games become larger and larger projects, involving not just a handful of people but dozens upon dozens of artists, programmers, designers, writers, and testers, audio and music stand alone as areas that involve relatively few people, and hinge on the efforts of very few, in an area that still has a huge effect.

Bungie made very, very good games before they were able to add O'Donnell/Salvatori music and sound. I think it's safe to say that the addition of that element is a major ingredient in what elevates them to the level of great games.

Halo 3 is no exception in this regard. While some may scoff at the familiarity of some of the material, I think the primary challenge in scoring the last segment of a sequel is blending the new with the old. Everything needs to sound like one part of a seamless whole, the new and the old, the familiar with the reinvented. For me, at least, the Halo 3 soundtrack is a triumphant success in this regard, and is in a heavy rotation on my playlist to make up for the Halo 3 I'm not playing while my 360 is broken.

With the packaging of the Halo 3 soundtrack, the approach of the second volume of the Halo 2 soundtrack was extended over both discs of a two disc set that attempts to duplicate the sonic experience of playing the game, running through the major themes and the dynamic music triggered by certain gameplay areas, from the first cutscene of the first level right through to the bitter end, with some of the music that accompanies the main menu to round out the collection.

Crow's Nest on Legendary EASY !!! Also clone Johnson.

This trick is relatively easy, but requires patience. First you start off in the level, but with no guns. You have 2 options get the Black Eye skull (on pipe above) or you can go downstairs and get a gun. Now go up to the ops center and go to Johnson. Now this is the time consuming part. Whack Johnson around the whole level. He will do all the fighting just give him a weapon (battle rifle works nice). Do this by killing him and drop a gun on top of him. If you sont give him a weapon when he gets shot he makes an atemmpt to run over and try to punch the covenent forces (hilarious!). Don't kill him to many times either or he will kill you (one shot your dead). BEWARE the corners if Johnson gets stuck in them grenade him out.He can get knocked out and get annoying because since he doesnt move by himself he can get stuck blown and get whoknows, where so keep an eye on him.
When you visit the ops center again you should take (whack) Johnson with you to meet the Johnson clone gaurding the bomb. Don't be Greedy you cant whack the one guarding the bomb around (well at least i dont think you can) without him walking back to his post.
To sum it all up LEGENDARY EASY WITH A SLAVE NAMED SERGEANT JOHNSON. WHACK HIM AROUND AND HE WILL DO ALL THE WORK!

Infected Johnson!

This trick is very easy to do. Go on the last level and keep a rocket launcher. Next play through the level until you get right before the door to Guilty Spark 343 (outside the door of the cutscene where Sergeant johnson dies). Then if you already haven't let the Sergeant catch up and take out your rocket launcher. Shoot him (make sure he dies) and go into the cutscene before he gets back up. Kill 343 and when you exit the room Johnson will still be with you. Now prevent the Arbitor and the Sergeant from destroying the infection forms. If done correctly an infection form can enter Johnson. Later...(painful screaming noises)...Now Johnson should be fully infected. He will probuly lunge at you. Then kill him.

The Ark

The Ark

This is The Ark, as seen in the cutscene that concludes Halo 3's last level. The large circular light, as well as the ring of light that surrounds it, is the incomplete Halo 04a firing. The much larger structure in the background with eight arms is the Ark. The Ark apparently serves many functions, not the least of which is a construction facility for Halo installations, as well as a master control room (seen in the level The Covenant, where the final confrontation with the Prophet of Truth occurs).

In the sky above the Ark during the final run to the Forward Unto Dawn in the final level, an apparently strip-mined rocky body can be seen; presumed to be the source of the raw materials used to build Halo installations.

AKQA Answers The Forerunner-Human Question?

Adjutant Reflex

AKQA, the company responsible for last year's award-winning IRIS ARG promoting Halo 3, has put up an extensive presentation that summarizes and details each step of the game.

In episode 4, the summary reads in part:

The fourth episode continued to provide hints at the previously unknown Halo backstory, including the shocking reveal that Humans and Forerunners share an ancient biological connection.

So, is that it? Are humans and forerunners somehow related? Are Humans surviving Forerunner, left behind somehow when the latter moved out into space? Is Earth a lost Forerunner homeworld? Do they merely share a common lost ancestor-- the Precursors, perhaps? Were both species, Human and Forerunner, seeded by some other, unknown source? Is this official backstory given to AKQA by Bungie, or something they came up with themselves?

Halo ODSTs

Halo ODSTs

Halo 3 was fun, but let's not see halo 4. (the agitated rants of an opinionated and easily frustrated gamer)

Halo 3 is an enjoyable experience and a decent rounding out to the series. Still i was hoping for a different direction then i was given and got that 'something is off' feeling that i got with halo 2 dispite it working hard to feel more like halo 1. Spoilers ahoy for what is basically me bitching about halo 3 in it's entirety. Keep in mind i still have fun with the game and by no means consider it bad. I merely bitch because i love.

In numerous instances in halo 3 i felt the storyline was confusing and iffy, but mostly because it was making compromises for storyline problems previously in the series or compromises for limited storyline space in the game, which was a bit unavoidable in the grand scheme of things but does detract from the overall experience. Examples of this would be the fact that gravemind in halo 3 is a faceless entity with tentacles that occasionally harass you because too many people disliked the 'audrey 2' style design from the second game. Another example would be the rushed brutes from the 2nd game suddenly having a completely different structure, weapon set, and armor classification that we are supposed to believe they always had according to the latest book.I would have much rather they had the brute's style change be a side effect of their new place in the covenant then have the books and game basically say 'oh yeah...they always had that, you just didn't know about it.' Let us not even mention the dizzying confusion surrounding sarge Johnson. All of these things were ultimately compromises that were made to patch up things that were considered flaws in the game universe that i personally think they would have been better handled by more subtlety.

Also i feel like the story came close to tackling some themes and issues i wanted to see taken care of and then had to back off because of matters of scope. For instance the fact that Cortana was supposedly going insane and horribly damaged by gravemind throughout halo 3. Then when you rescue her she operates perfectly normally and nothing is mentioned of it ever again. Also when master chief goes into cryo in the ending sequence noone seems at all worried that he probably isn't going to be awake before whatever complications of Cortana's already limited and substantially shortened 'lifespan' come to pass. (this of course is mostly a complaint about the continued and rather marked disconnect between the halo book continuity and the halo game continuity so is a minor quibble for the game storyline taken by itself.)

Another complaint i would have is that i find it hard to believe many things that you had to accept at the end of halo 3 in order to not consider Cortana and the chief idiots for how they reacted to the end of this chain of events 'it's finally over blah blah'

A. The destruction of gravemind and the flood infestation on high charity means that the flood are no longer a tangible threat to the galaxy...despite the fact that the flood are a 'a single spore survives and a planet could be lost' style virulent threat that is suspected to have at least some infestation on EVERY halo ring as well as other forerunner structures.

B.The fight that you carried out in 'the covenant' where you pushed into the control room and killed truth constituted every last resource that the covenant had left, no ships retreated and the covenant power structure has no plans for the eventuality of the death of it's heirarchs.

C. despite the fact that a relatively small detachment of the elite species came to humanity's aid every other representation of the elite species is going to leave humanity alone.

D. There are numerous halos still potentially ready to fire individually and have a relay system to fire with each other, no indication was made that the ark was needed intact for them to fire.

E. dispite the fact that all it takes to fire a halo and unleash hell on the stars is a single human hand no one will ever plan ever again to either use a human to fire the halo rings or attempt to destroy the entire human race to make sure their are no humans left to fire it.

This is understandably not tackled in the game because of time constraints and a wish to bring the story arch to a close with a third game. Still having the main character's be naive enough to completely detract from these potential threats is a bit of a 'but what if their's a sequel?' BUM BUM BUUUUM sort of moment that i worry about. There's probably going to be sequels to the halo storyline in some shape form or fashion down the road as it's too popular for fans to let die. I don't want to see those however because i think that the series has been falling apart storyline wise under the weight of it's own inability to explore it's own ideas ever since the books started coming out. The first halo game simply was to straitforward and had too wide open of an audience to support the kind of in depth themes that lay hidden in the background of the series without losing some of it's marketability but if it didn't retain some of it's complexity it would alienate the hardcore fans that arguably keep the community Bungie has made from being swallowed into the mainstream fans and losing it's personality. It's a hard situation to manage and you could hardly expect them to do it perfectly.

Taken as a simple action game storyline halo is for the most part a strait forward three game series that while flawed is still cleverly written and emotionally presented. It follows a comprehensible sci fi storyline arch and provides the ups and downs people expect while keeping them teased for more. Perfect for selling a game and entertaining for fans.

Taken as a work of art halo is a series that has many ambitious ideas and a love of giving it's fans in depth detail but is suffering from both a too many cooks spoil the broth style approach to the continuity that is reminiscent of, but hardly as bad as, the comic book industry as well as trying to play to the mainstream fanbase who basically only picked up the game for it's multiplayer component. (i have seen people who are majors online and haven't played a single second of campaign, not to mention ones who haven't played it above normal or easy. Also we already got into the fragmentation of the fanbase that comes from people wanting more cohesive support for the books) The series has often been compared to star wars in recent months. I think the comparison is apt because like that series halo has suffered at least a minor breakdown of it's artistic integrity through being marketed as a multifacted story across many mediums and becoming so big that it's owners feel it has to be mainstream and easy to understand to avoid backlash from consumers less interested in in depth plot analysis.

Gameplay wise I personally feel that the series feeling like it has to have extra bullet points on it's box each time 'dual wielding, biggest halo levels ever!, new weapons and vehicles!' has also been a detriment.

As far as multiplayer goes in the halo series while i play it religiously because i happen to be just good enough at it to feel egotistical when i'm not losing it's still frustrating for me to play. They openly admitted that dual wielding pretty much unseated the statis quo that was set up in halo 1 and the fact that halo 3's weapon setup is still of course more based off of halo 2's weapons then halo 1's it means that the pacing and style of play in halo 3, while more like halo 1's is still halo 2's baby. while i hardly consider halo 1 to be perfectly balanced in hindsight i do think that over the last 2 games multiplayer balancing for the series has mostly seemed like a tug of war between warring factions that want the game to be completely based off of individual skill versus people who want the game to be based off of overwhelming teamwork. I personally think a balance between the two is fine and i like where the halo series sits in that balance in theory. I'm just sick of gameplay being controlled by power weapon emphasis and chafing under the social gaming restrictions of not having a custom game browser or hopper, which is not going to change too much since power weapons have been a staple of halo play for it's entire existance and a custom game system is a bit too large to be offered as downloadable content. Halo 1 was considered the multiplayer benchmark for the series mostly because people just didn't notice problems as much in halo 1 because you basically spawned with a power weapon and due to a lack of in box online support few people played the game with anyone who had much practice playing against high level people or whom they couldn't punch in the arm for being cheap.

The single player game's limitations for me mostly stem from the latter 2 games using very frustrating means to up their difficulty.Halo 2 introduced much too large of a disparity between player health/damage vs enemy health/damage at higher difficulty levels and the advent of enemies picking at you with dizzying accuracy from severe range. These two things drastically limited your choices in how you play the game. Thus limiting the sandbox sort of feel i had with halo 1. Also vehicle segments in halo 2 were far too corridor and wave spawn based.

These were all issues that were tackled in halo 3's attempts to improve things but halo 3 ran across new problems. Covenant vehicles were too hard to take down due to a relatively less plentiful and reliable rocket launcher and a drastic upping in vehicle small arms fire damage. (the turret on the wraith and the guns on the ghost in my first playthrough on heroic often made me feel like if they got close i had no chance of survival no matter what I did unless i was driving a tank.) Also the wraith tank had suddenly become relentless and perfectly aimed at range, basically forcing you to be in a vehicle or be planning your movements very very carefully to survive. Neither of which felt possible with some of the harsh infantry support those wraith's had in two or three points in the game. I was told by bungie to play the game on heroic because i was experienced and they designed it to be the most fun for experienced people on heroic. When i played through the game the first time on heroic in three seperate instances in the game i was pinned down by a wraith tank and died countless times in a row no matter what i tried. only getting by because of luck or because i somehow managed to find the pity missle launcher or rocket they laid off in a corner somewhere and gave me little indication of. I understand halo 1's weapon spawns of 'oh a few dead marines landed here with everything you need strewn around their corpses' wasn't realistic but at least I could find them in a pinch. My final complaint about halo 3 is of course the level Cortana. Many people called it halo 3's library. I personally liked the library better however. The library was repetitive for sure but at least in the library i had room to manuver, i could clean out the infection forms after each fight with melee attacks (that magically seem to not work at all in halo 3 against infections due to decreased melee range or something similar.) to save ammo, i could clear out groups of flood handily by using exploding flood sacks and the supreamly powerful grenades to my advantage, and when something was shooting at me at range it had only mediocre accuracy and it didn't take me a clip and a half of god damn carbine ammo to kill it! Not to mention their weren't three of them at once!! (yeah i hate those spine shooting wall climbing asshats. By far the worst addition to the enemy roster in halo's history and a true sign of lazy 'difficulty over fun' game design.)Halo 3 did plenty of things right overall but it ultimately feels like a game that punishes you a bit too much for not playing it their way. Like the scene in two betrayals in halo 1 where you trigger one of the pulses and right as your shields are taken down the room is rushed by a nearly impossible to survive wave of flood that includes the ever so uneccisary and bitchy rocket flood, only repeated throughout the entire game a few times too many.

Halo 1 was a lightning strike that resonated with players on both a gameplay and storyline front. The fact that many things that worked so well with it were because of limitations the game makers were working under and improving on existing ideas particularly well. While it was a game with flaws those flaws often seemed to give it a personality all it's own (go library).

The other two games in the halo series have left me both happy and indifferent. Both are good games but neither ever convinced me that they did what they set out to do. Which is follow up halo. They both feel like completely different games that tried too hard to improve halo and just ended up breaking it in different ways. I think this is because the creative teams changed over the years and just because of the limitations that expectation and the known quantity of what 'did' or 'didn't' work in the first game guided their hand too much. At the end of the day i believe that halo 3 was for me a marked improvement over halo 2 but just reminded me how far away from halo 1 the series has gotten over the years (i miss you, easy to kill hunters)and made me decide that the best way for bungie to recreate the feeling i got playing halo 1 is to start over and make a new IP and make another quirky and flawed new game with it's own personality and fun factor. These days it feels like some of the people in Bungie think that way too.

halo 2 and halo 3 basically meant for me that i'm not really a die hard halo fan anymore, but the halo series on the whole has made me a die hard bungie fan and i can't wait to see what comes next.

Anger, Sadness and Envy Episode 4: The Storm

Anger, Sadness & Envy Rev 3

Trindacut and Narcogen take a look at The Storm, the fourth level of Halo 3, where vehicle combat is again a major theme and the story finally picks up as this level ends.

This is the MP3 version of the episode, compatible with the online player. This is the only format for this episode.

Audio file: 

Fog: You'll wish you had those eyes in the back of your head.

This is a pretty tricky skull to explain but I'll try my best. Okay the fog skull is on the level Floodgate. It takes away the whole radar so you don't know what's behind you. To me I think this is okay considering you can go on one path most of the game and not have anything pop up behind you. Anyways, onto finding the skull.

Step 1
Take out a battle rifle/carbine (just a long range type weapon or something that isn't automatic).

Step 2
Walk to where there are sand bags. They should be close to the AA gun. Look to the first building on you're right.

Step 3
Stop and look along the top edge of the building.

Step 4
Keep walking forward and a flood should appear on the top about to jump.

Step 5
Shoot it and the skull should fall down to the ground.

Remember to not shoot it too early or else the skull will stay up on the roof! Now you have another skull and 10g. If you need any help send a friend request to J Manizzy.
Oh yeah, if you want the skull and the 10g, pick up the skull after step 5. Happy Skull Hunting.

Plasma Rifle

Plasma Rifle, Halo 3

Today's entry in the Halo 3 weapons guide is the Plasma Rifle. (Halo 3 only has the single, blue Covenant plasma rifle, as the red Brute plasma rifle has been removed.)

This Is How The Story Ends

Master Chief and Cortana

In response to those who've asked me what do you think of Halo 3 I wrote a long piece on finishing the fights. Halo, being a first person shooter with a linear story has a number of "finishes", though. There are the conflicts the player is a direct party to, but there are other story elements as well, and action that takes place away from the player.

How well does Bungie bring this epic trilogy to a close?

Thunderstorm

Thunderstorm Skull, The Covenant, Halo 3

The Thunderstorm skull is found the the level, The Covenant . It turns all grunts into spec-op grunts (I forget if it increases the rank of brutes and jackals but I doubt it does).

EDITOR'S NOTE: It gives a promotion to any unit that has ranks and can receive one, including Brutes.

You better be good at getting headshots because these grunts just won't die! I have to put a whole assault rifle clip into them if I don't aim for the head! Anyways, onto how to get it.

Step 1
After you deactivate the 1st tower, get into a hornet.

Step 2
Fly over to the 2nd tower that the Arbiter and the elites deactivated.

Step 3
Land on the 2nd tower.

Step 4
Climb up to the top of the big ramp.

Step 5
Pick up the skull.

Now you have the Thunderstorm skull. Hope you enjoy wasting your ammo on one grunt and the 10g.

P.S. Congrats on the podcast!

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