The biggest difference from the games is that "Halo," a show developed by Kyle Killen ("Mind Games," "The Beaver") and Steven Kane ("The Closer," "The Last Ship"), kick-starts immediately with Master Chief navigating an identity crisis. The super soldier's thoughts are bouncing between his role as a duty-bound, RoboCop-like galactic enforcer and becoming a kinder, fuzzier Terminator with a heart of gold. The stimulus for this self-awareness is the show's most contrived plot point, namely Chief's connection with a magical ancient stone, an ever-reliable modern McGuffin. But the consequences of that internal crisis, at least for the first two episodes, also provide the best source of rising tension between Master Chief's dawning sense of righteousness and the borderline fascist government of the United Nations Space Command.