Doomguy has been everywhere. He's been to Mars, he's been to Hell, he's been to Thatcher's England. But what's he do between monster-murder sprees? He pops down to a museum opening to better himself.
In Doom: The Gallery Experience, you walk around a rejigged E1M1 with a cheeky glass of red in hand looking at Piero Di Cosimo's Return from the Hunt and a vase from the fourteenth century. There's not an imp in sight, unless you count the baby Jesus in Francesco Francia's Madonna and Child, who has always looked a bit sus if you ask me.
