Knowing the fifth season of Mad Men is set to debut this weekend, I finally decided to check out the series. Coworkers, friends, online strangers, and even my wife have been singing its praises for years, so I wanted to see what I’d been missing all this time. Turns out the answer is, “an extraordinarily written television show.”
By a complete coincidence, my Mad Men marathon led right up to my revisiting Metal Gear Solid 3 through its 3DS remake, Snake Eater 3D. Our minds like to find patterns and similarities where none may exist, so naturally I was struck by the fact that both pieces are set in the same time period: The first half of the 1960s. One week I was watching Don Draper and associates react to the Cuban missile crisis and the assassination of John F. Kennedy; the next I was watching Naked Snake slink through a Russian jungle in response to military maneuvers precipitated by those same events.
Both Mad Men and Metal Gear Solid 3 stand as very different creations that offer wildly disparate takes on their settings, but they both share something in common: They represent some of the finest narrative work ever produced in their respective mediums. Because they’re set against the backdrop of the ’60s, the similarities and variances in their presentation offer a reference point of sorts for exploring the differing strengths and potential of film and games.
I’ve isolated three of the most meaningful moments in both Mad Men and Snake Eater and placed them side-by-side with one another to explore how each work creates similar responses in its audience through radically different means. Of course, both mediums possess much broader range than contained in these two very specific works, so this is hardly a definitive exploration of the games-versus-film topic. It’s more of an isolated cross-section. The differences between the most powerful moments of Mad Men and Metal Gear Solid 3 say much about how games fall short of film as a narrative medium… and the other ways in which they accomplish things movies and television could never dream of doing.
Mad Men: “Out of Town” Vs. MGS3: Undocumented Features

The third season of Mad Men opens with ad exec and protagonist Don Draper traveling out of town with his firm’s art director, Salvatore Romano. Over the previous seasons, Salvatore has clearly been defined as a closeted homosexual who’s elected to repress his sexual preferences for fear of destroying his peers’ acceptance, or worse, his career in the gay-fearing world of the 1960s. But when a handsome hotel bellhop comes on to him, Salvatore finally gives in to his natural urges, thinking himself secure in the remote anonymity of another city far from everyone he knows. Or so he thought. Unfortunately, while escaping down the fire ladder in response to an inconveniently timed fire alarm, Don happens to spot Salvatore in the act.
Clearly stunned by this discovery, neither man says anything to the other until their flight home. There, with his coworker a captive audience in an airplane seat, Don fixes him with an intense expression and insists that Sal answer him with complete honesty. Barely able to hide his anxiety at what’s to follow, Sal hesitantly agrees, and Don very pointedly asks him… about an ad campaign he’s drafted. The moment is fraught with subtext, as what Don doesn’t say is far more significant than what he does — though that’s not exactly meaningless, either, as the ad campaign itself centers around the image of a girl wearing nothing but a trenchcoat open to a surprised-looking man, her back to the viewer, accompanied by the caption “Limit Your Exposure.” Without directly stating it, Don signals to Sal that he knows the truth about the other man but has no intention of revealing it provided he’s discreet. Sal shakily mumbles, “That’s it,” acknowledging both the ad and Don’s unvoiced admonition. The scene breaks with Sal sagging in his seat, the tension escaping his body with the shaky, adrenaline-fueled relief of a near-miss.
It’s hard to imagine any video game ever pulling off a moment like this, and certainly the Metal Gear series never has. At its best, the series’ cut scene direction, writing, acting, and digital assets simply aren’t up to the task of pulling it off. Even Quantic Dream, the people behind the recent Kara demo, probably couldn’t manage it; Kara’s tech is extraordinary, but the writing has all the subtlety of a steam train to the face.

Yet this isn’t to say that Metal Gear lacks subtlety in other ways. Its victories — its nuance — lay in the marriage of game mechanics to narrative. Even as MGS3′s narrative suffers from the limitations of video game technology and its creators’ artistry, it benefits from the interactive nature of the medium. Its successes on this front stem not from misdirecting the characters and viewer — the series’ baroque double-crosses tend to be more comedy than drama — but rather by misdirecting the player.
Take, for instance, your encounter with expert sniper The End. Your duel spans several vast, open areas full of blinds and hazards. The key to triumphing over The End isn’t to outshoot him, but rather to outthink him — to fake him out and beat him through patience. And yet, the easiest way to win the fight is simply to avoid it altogether. Long before you actually face The End, you observe him being pushed in his wheelchair by another character. A quick-witted gamer might notice that the characters involved in this cutscene briefly maintain their positions in “real” game space once the story sequence ends, leaving the elderly sniper momentarily vulnerable to a well-aimed shot from a distance. By preserving a sense of continuity between story and action, this sequence of Metal Gear Solid 3 allows the player to craft an alternate solution to a looming problem — and to its credit, the game doesn’t cheat those who try to pull a fast one here, instead rewarding clever gamers with a logical solution to unconventional thinking.
This may not even be the most impressive of Metal Gear Solid 3′s undocumented features and opportunities, but it’s certainly a striking one. And, like its equivalent scene from Mad Men, it’s one fraught with unforeseen consequences down the road. In Mad Men, Sal eventually loses his job when the son of the firm’s biggest client — a selfish bully of a young man — comes on to him. Sal stands his ground and rebuffs him, and the client demands he be fired. Don (quite unfairly) terminates Sal for endangering the business, making a remark about “you people” that suddenly makes the viewer realize that Don didn’t approve of Sal’s sexual orientation before; he simply was willing to disregard his own bigotry so long as it didn’t affect business. Meanwhile, in MGS3, preemptively sniping The End transforms the area what would normally serve as home for that tense duel into a high-octane battlefield swarmed by parties of enemy commandos on automatic high alert… likely spoiling a stealthy player’s hopes for a low-profile playthrough.
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