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This is where the role of entertainment becomes critical. Many games use violence as a power fantasy, rewarding the player for aggression. The Last of Us subverts this. When Ellie commits brutal acts, the game does not celebrate them; it forces the player to witness her subsequent breakdowns, her trembling hands, and her PTSD flashbacks. The infamous violence in Part II—specifically the graphic confrontation with Abby—is not designed to be fun. It is designed to be sickening. By making the player complicit in Ellie’s revenge-fueled rampage, the game mirrors the reality of abuse: that victims often become perpetrators. This is a useful, albeit uncomfortable, lesson for all entertainment media. When abuse is depicted as a tragic, cyclical force that destroys the soul (rather than a backstory to justify a badass hero), it serves a cathartic and educational purpose. When it is glossed over or aestheticized (as seen in many action films or true crime dramas), it risks normalizing the very violence it claims to critique. This is where the role of entertainment becomes critical