Millennial Writing: Using Trauma to Justify Evil

Summary

The narrator argues that some contemporary media imitates the visible features of earlier hits without understanding why those works succeeded. He calls this “copycat” or “cargo-cult” writing: creators reproduce surface traits, then blame factors such as racism or homophobia when the imitation fails. He says the trend can become self-replicating, with works copying not only successful originals but also earlier copies.

The video focuses on one pattern the narrator sees as a consequence: using a character’s trauma to excuse harmful or villainous behavior. In his view, a tragic past may help explain a character or make them more sympathetic, but it does not automatically absolve them or count as atonement. He criticizes stories that portray a character as a victim while overlooking the people that character has harmed.

The narrator’s standards for a convincing redemption arc

• Trauma can explain behavior, but it does not erase responsibility. A character’s suffering does not, by itself, excuse what they do to others.
• A redeemable character should show some underlying desire to do good. The narrator argues that Prince Zuko’s arc works because Zuko had already shown concern for others—for instance, by standing up for lower-ranking soldiers—even though he had been shaped by a harmful culture.
• Change must involve action, not just a backstory or realization. A character does not need to find the right path immediately, but the story should eventually show them trying to change and make amends.
• Repentance does not cancel the harm already done. The narrator points to “Zuko Alone,” where Zuko helps people but is still rejected when they learn who he is. He sees this as an example of a story acknowledging that good intentions do not guarantee forgiveness.
• The victims’ perspectives matter. The narrator asks viewers to consider the families and loved ones of people harmed by a character, rather than treating the perpetrator’s pain as the only pain that counts.
• The standards should be applied consistently. If one character’s trauma is used to excuse them while other traumatized characters are still treated as villains, the story’s moral logic can seem selective.

Examples and comparisons

• Zuko in Avatar: The Last Airbender is presented as a successful redemption arc. The narrator says the crucial factor is not simply Zuko’s scar or painful past, but his capacity to care about what is right, his gradual change, and the fact that he is not automatically spared consequences.
• Ozai is offered as a contrast. The show acknowledges that he was once a child and a person, but this does not change the fact that he is now a tyrant who must be dealt with as such.
• Azula is another contrast. The narrator says she shares some of Zuko’s painful background but does not pursue the same moral goal. He refers to a later comic in which she avoids confronting her past actions, arguing that trauma alone does not make redemption inevitable.
• The narrator criticizes several newer characters and stories for treating trauma or identity as a shield against criticism. He especially objects to the character he calls Jean Grey in a Spider-Man-related film, describing her as taking control of people’s bodies and endangering civilians. He argues that a tragic event later in the story does not retroactively justify those actions. The subtitles refer to both Spider-Man: Homecoming and A New Day, so the exact film title or character attribution may be inaccurate.
• He also mentions Scarlet Witch in WandaVision and Ironheart as examples of what he sees as stories or characters excusing harmful conduct.

The narrator speculates that some creators may use such stories to avoid admitting harm in their own lives. Instead of facing consequences, they may present destructive people as victims who will be understood and accepted once others learn their stories. He notes that this broader point would require a separate discussion.

Game discussion and promotion

The video ends with a brief review of Cabernet, a point-and-click-style adventure about Lisa, a woman turned into a vampire in a fictional Eastern European setting during the Victorian era. The game explores whether she will embrace being a monster or preserve her humanity, alongside political upheaval and vampire society.

The narrator praises the game’s story and optional romance routes, but warns that bugs—including crashes and progression-blocking problems—are a significant drawback. He says the demo may not reveal the worst bugs and recommends trying the game only if players can tolerate technical issues.

Speakers and sources featured

• Speaker: One narrator/host associated with the Sam Tate channel; no other speaking voices are evident in the subtitles.
• Works and characters discussed: Steven Universe; Adventure Time; The Hunger Games; Divergent; Twilight; Fifty Shades of Grey; Harry Potter; Percy Jackson; Ms. Marvel; Iron Man; Thor; Spider-Man-related films (the subtitles name Spider-Man: Homecoming and A New Day); WandaVision; Avatar: The Last Airbender; Zuko, Azula, and Ozai; a comic continuing Azula’s story; Cabernet; and Carmilla.