Melodrama evokes a universe where a cosmic struggle between good and evil is being waged, a struggle that nevertheless remains hidden behind everyday appearances. Only at moments of heightened emotional intensity does evidence of this other world break through into our own. Melodrama tries to make this otherworldly struggle that structures our own existence visible through elaborate staging effects, a heightened delivery, and a reliance on gestural as opposed to verbal language.

That sounds like an uncanny description of Metal Gear Sold 4 to me...and the vast majority of other narrative video games as well. Interestingly, the balance between gestural vs. verbal delivery that Brooks articulates has been the focal point for much of the critical debate surrounding MGS4. It's a highly melodramatic game, but its verbosity (often superceding its gestural gameplay) perhaps prevents it from fully realizing melodrama's potential. In other words, the problem with MGS4 isn't that it's melodramatic; it's that it's not melodramatic enough.

Lest you blanch at the notion of Solid Snake lumped in with Days of Our Lives or Waiting to Exhale, I would suggest to fans of Braveheart, Lost, CSI, and virtually every sports movie ever made that you are also fans of melodrama. The Call of Duty series, the Final Fantasy series, Bioshock - even significant portions of GTA IV - all rely on melodrama to deliver their experiences.

And at the center of these tales is the classic Melodrama Hero - a man (sometimes, but rarely a woman) of strength and courage who must do great deeds in an environment of heightened emotional intensity; a hero who operates within a clearly defined world of good and evil, charged with restoring order and stability from chaos. Solid Snake and Dudley Do-Right are cut from the same cloth. One may be a conflicted hero with lots more backstory (and, okay, Dudley is a cartoon caricature), but dramaturgically they function in remarkably similar ways.