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Pop CultureFebruary 28, 2017

Why the DOOM Boardgame deserves to exist

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Rubbish knock-off licensing seems to hound every mega popular entertainment property out there. (Exhibit A). Among the most questionable products are boardgames based on video games – but the DOOM boardgame might just be an honourable exception, as Liam Maguren discovers. 

I’ve written about DOOM three bloody times for The Spinoff. I thought I had covered everything worth covering until Douglas Moore – a Gandhi-level guru of boardgame paraphernalia – turned my gaze towards DOOM: The Boardgame. Designed by Jonathan Ying and based on Bethesda’s 2016 game, Doug invited me over to show me why the boardgame deserved to exist.

Doug, how do you play this game and can you explain it in one simple sentence?

With great prejudice.

Fair enough. Do I play by myself as a one-man killing machine – like the videogame?

You will always need at least two. One ‘Marine’ player versus the ‘Demon’ player who controls the hordes. But you can (and should) bring as many more gun monkeys as you like! I call marines gun monkeys because my demon controlling tastes are more refined.

So I/we get to kill imps and cacodemon and such – like the videogame?
Oh lawdy yes. Demons by the portal-full. But you’re thinking too small. This game goes as far as bringing out the mighty Cyberdemon! All of which are presented with some of the most beautifully detailed models currently available.

Even you, marine.

What about the weapons? Are they awesome – like the videogame?

If by awesome you mean each one having unique action cards that cater to different playstyles, then yes. They are awesome.

…including the chainsaw?

Oh yeah. We got chainsaws. And it works in this game just as well as you’d expect.

OK, I’m getting sweaty. Let’s play it. How do we set this thing up?

For the tutorial, like this:

My goal, playing as the demons, is going to murder you until you are dead. Four times.

FOUR TIMES!?!?!?

Oh yeah. You see that teleporter looking thingy behind you? That’s a teleporter. If you get fragged, you just respawn there on your next turn. Speaking of you, your goal will be to genocide all these demons here, and the other ones that get summoned once you open one of the doors.

So you get to control ALL these demons and I only have this one marine?

Let’s be fair. The recruitment process in hell is… well, hell. Yes I have a big pile’o’dudes, but unlike you, they don’t come back. Nor do they have the big pile of combat cards you hold in your hot, hairy little hands. All I got is orders to move ‘n’ shoot. Oh, and I’ll cover the arena in darkness every now and again.

…sweet then. So what kind of cards have I got?

And what’ve you got?

You’re not allowed to look at my cards but here’s what I’ve got.

Whoa, what just happened?

Well, I went first (turn orders each round are randomised), moved my soldiers up, and shot you in the face. I rolled a two on the attack dice and you flipped a card from your deck to see if you could defend it (you couldn’t), so you take two damage.

Shit. Is it my turn now?

Not yet, good sir. Another invader card got flipped, so it looks like you’re gonna go last this round.

Goddamn it.

I’ll just go ahead and make these imps jump around like idiots and then you can shoot my guys dead till your heart’s content.

All right. I’m ready to smash your worthless minions into paste. How do I do that?

Well, unlike the demons, you perform everything through the cards in your hand. Many of them can move you around, and most will cause bullets to pour out of your guns. And don’t worry about using up your cards. Once all your cards have been drawn and spent, you just shuffle the pile and draw all over again!

So… if I play these cards…

Yep, that’s a solid… two damage on my imp. Good job! You may wish for more impactful turns in the future.

That’s the round over, yeah? So how do we start the second—

Well, I activate my possessed soldiers, who just stand there and unload on you. Looks like you died, bruh. Maybe you should’ve used what was left of your movement last turn to take cover.

Goddamn shit. But now I get a fresh man and some new cards and now I’m going to sprint to that imp who killed me and suckle on the sweet, sweet teat of vengeance. I’m allowed to do that, right?

Well, yeah if you have the right car—

YES! FEEL MY WRATH!

Oh snap, he’s dead. Well, only four more guys to in this area. NEXT ROUND.

Oh good. I only got hit twice that time. Let me slam a shotgun into this guy’s face!

Ooh, only two damage again.

NO! So close! He’s on the cusp of death! Guess I’ll wait for my next—

I mean, you could just use your movement to step into his space and snap his neck for a glory kill.

You… you mean… like the videogame?

You betcha. THE DOOM BOARDGAME IS METAL AS FUCK!

How to glory kill in DOOM: The Boardgame

THIS GAME IS AMAZING!

And that was just a taste. Outside the bubble of the tutorial, there’s a literal manual of missions to play. Each one of these has different map layouts, weapon pickups, and objectives (for you gun monkeys at least – the demons are usually on frag duty).

So they actually thought this through as opposed to making a DOOM Monopoly cash-grab. How long would it take to bust through all those missions?

If you dedicate a night a week to the game, you’d probably get through them all in a few months. That, of course, is assuming that everyone stays on the same team and doesn’t switch classes or weapons each time. And there are a loooooot of class cards to explore.

Why does this feel so… DOOM-y?

To me, it comes down to some of the simplest changes they made that other board games don’t fiddle with, namely the randomized turn order and the marines’ action cards.

Since you don’t just have a ‘movement speed’, a ‘damage stat’ or even a place in line like other games would use, you can’t plan your turn ahead of time. Every time your initiative card comes up, you have to make snap decisions. Each turn feels more like impulse than a carefully laid strategy. This resonates so much with the source material, as the pace of DOOM is so fast and frantic you barely ever have time to stop and think. You just have to keep going. Keep moving. Keep shooting. Even if you take a few hits in the process.


This post was brought to you by our mates at Bigpipe Broadband

Keep going!
24: LEGACY: Corey Hawkins in the “1:00 PM – 2:00 PM” episode of 24: LEGACY airing Monday, Feb. 6 (8:00-9:01 PM ET/PT), on FOX. ©2017 Fox Broadcasting Co. Cr: Guy D’Alema/FOX
24: LEGACY: Corey Hawkins in the “1:00 PM – 2:00 PM” episode of 24: LEGACY airing Monday, Feb. 6 (8:00-9:01 PM ET/PT), on FOX. ©2017 Fox Broadcasting Co. Cr: Guy D’Alema/FOX

Pop CultureFebruary 28, 2017

Jack Bauer is gone, the clock is still ticking, and everything else you need to know about 24: Legacy

24: LEGACY: Corey Hawkins in the “1:00 PM – 2:00 PM” episode of 24: LEGACY airing Monday, Feb. 6 (8:00-9:01 PM ET/PT), on FOX. ©2017 Fox Broadcasting Co. Cr: Guy D’Alema/FOX
24: LEGACY: Corey Hawkins in the “1:00 PM – 2:00 PM” episode of 24: LEGACY airing Monday, Feb. 6 (8:00-9:01 PM ET/PT), on FOX. ©2017 Fox Broadcasting Co. Cr: Guy D’Alema/FOX

Aaron Yap, The Spinoff’s most die-hard 24 fan, tells you all you need to know about the return of 24, with a new star and a new name – 24: Legacy

“The more things change, the more they stay the same.”

It’s hard not to summon the words of French writer Jean-Baptiste Alphonse Karr when it comes to Fox’s seemingly tough-to-kill action series 24, now back and rechristened as 24: Legacy. Don’t call it a reboot though. Producers Manny Coto and Evan Katz, like many a creator of currently de rigueur interconnecting franchise universes, have declared this “an expansion”. The show’s pioneering real-time gimmick remains, continuing the truncated 12 episode-arc set by previous “limited event” season Live Another Day. But its most seismic change is the absence of its iconic, terror-busting protagonist, Jack Bauer, immortally portrayed by Kiefer Sutherland for nine seasons.

Here are a few things you need to know about 24: Legacy.

Jack Bauer fans are a bunch of crybabies.

For a show that starred one of the hardest-assed dudes on TV, its fans are astonishingly thin-skinned and childish. Ever since 24: Legacy was announced with a new lead – Corey Hawkins – and no Sutherland in sight, the majority of reactions have been swiftly negative, with tone of the commentary ranging from hilariously butt-hurt…

…to openly racist and hostile…

The trollish stench of anti-social justice-ness permeates the rhetoric, which recalls the ugly online hate campaign mounted against Paul Feig’s all-female Ghostbusters reboot. I get losing a character you’re emotionally attached to, and yes, Jack/Kiefer was a huge reason why we all obsessively tuned into 24. But I welcome the change, especially since Jack’s character arc was exhausted well before Live Another Day (how much more humanity can you take away from the guy?). On a more basic level, I’m just stoked one of my favourite shows is still even on air, warts and all.

 Corey Hawkins is not Kiefer Sutherland.

The Straight Outta Compton actor is much younger, and will take some time to warm into the role, but his character, ex-army ranger Eric Carter, is a fine, physically agile addition to the 24 stable. Sutherland’s electric scowl and leathery grit are missed, but Hawkins is already exhibiting a mix of coiled, crazy-eyed intensity and laser focus that’s easy to get behind. You buy the confidence in which he’s able to bring the war back home, navigate time-sensitive missions and produce the necessary results. I’d love to see a shade more personality – he’s just a ruthlessly efficient chess piece at this stage, but it works.

CTU is still a hot mess.

What would 24 be without a mole lurking in the midst of its oft-compromised operational centre? In the first episode, out-going CTU director Rebecca Ingram (Miranda Otto) suspects her replacement, Keith Mullins (Teddy Sears, who’ll have to earn back my trust after The Flash), could be involved in a new terror plot. As groan-worthy as this trope is, it’s also weirdly reassuring to see the Counter Terrorist Unit, that hub of all-access state-of-the-art spying, still has such lousy network security despite a long history of mole infestation. In a more interesting, commendable development, 24: Legacy has given CTU its first gay relationship in nerdy analyst Andy Shalowitz (Dan Bucatinsky) and gruff field ops leader Thomas Locke (Bailey Chase). Shalowitz is clearly a techno-babbling stand-in for Chloe (Mary-Lynn Rajskub), the show’s other also-MIA regular. And if the laws of 24-verse are still in place, Locke will probably expire before the season is over.

Muslim villains again… sort of.

In light of Trump’s Muslim ban, 24: Legacy’s opening scene, a home invasion featuring Muslim terrorists torturing and killing white Americans, was uncomfortable and disturbing to watch. One of the show’s controversial legacies is how much it has relied on post-9/11 anxieties to fuel its ticking time-bomb escapism. But in reality, and contrary to co-creator Joel Surnow’s assertion that he’s a “right-wing nut job”, 24’s politics haven’t always been simple to parse. If you look at its roster of past villains, they’re a more varied lot that you would have been led to believe. 24’s uncanny prescience is undervalued: one of its most memorable and beloved characters is a noble pre-Obama black president, while one of its most despicable big bads is a greasy conservative American president. One can expect 24: Legacy’s extremists to be a small piece of a larger, more subversive puzzle.

Episodes still matter.

The idea might seem quaint today, but the heavy serialisation of 24 broke new ground when it first premiered in 2001. It wasn’t possible to come in mid-season and know what the heck was going on. But something that’s often taken for granted for is the disciplined manner in which each episode was structured to revolve around a specific goal to move the plot forward. Today’s liberally long-form, novelistic TV dramas can sometimes feel like one epic movie arbitrarily chopped into chunks. I’m happy to report 24: Legacy stays true to its storytelling roots, with the second episode, throwing Carter into an elaborate scheme to rob a police station, is a stellar example of this. It’s the sort of crazy, wholly implausible ends-justifies-the-means action that 24 truly excels at and Legacy will need more of to keep me hooked.

Jack will be back.

I actually wouldn’t be surprised if 24: Legacy ended with a cliffhanger of Jack resurfacing. Let’s do the math. It’s obvious that the showrunners are keen to retain some of the 24 of old. Fan favourite Tony Almeida (Carlos Bernard) is tipped to return, after only appearing in a stingy Blu-ray extra last season. There’s a nod to season four and five’s dearly departed Edgar Stiles (Louis Lombardi), whose cousin shows up here as a new CTU analyst. Although Sutherland has previously denied he will ever reprise the role, his recent comments have been less committal (“I’m going to just say we’ll see”). It’s 100% in the show’s interest to service long-time fans and boost conversation, and a no-brainer is to bring Jack – and Chloe for that matter – back into the fold. On the other hand, Sutherland’s commitments to his new show

It’s 100% in the show’s interest to service long-time fans and boost conversation, and a no-brainer is to bring Jack  and Chloe for that matter — back into the fold. On the other hand, Sutherland’s commitments to his new show Designated Survivor would mean that it’s less likely that Jack will stay on, if he does materialise, as a core cast member (at least in this season anyway).  

In the meantime, I’m going to continue lapping up the enjoyable but inescapable staleness of 24: Legacy. Rolling my eyes at its daft B and C plots. Shaking my head at its stubborn lack of reinvention. Comforted by the sound of its digital clock scene transitions. Grinning like a maniac whenever it goes over the top. “It’s like a drug,” Ingram says of her time at CTU, “…hard to come down from.”

I get the same feeling watching this show. The high may have diminished, but dammit, I just can’t quit.


24: Legacy is available to view on TVNZ On Demand.

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