This chapter on memory tackles this subject through three related sections: PTSD, Franchises, and TV Series; PTSD and Memory; and Self-Actualisation. Dealing with trauma and PTSD is frequently at the heart of narrative and in franchises this can fruitfully be developed over many incarnations. In Batman for example we have a super-hero seeking revenge for the loss of his parents and in one interpretation the PTSD experienced is palpable. Whether this is clinical or not depends on the clinician. According to Erica McCrystal, this franchise has a multiverse combining abundant varieties of Gotham to create a depiction of a Gothic city familiar but limitless. Similarly, the complexities of trauma and memory offer scope that is boundless. The battle between Batman and his nemeses, such as Joker, is between order and chaos, neither gaining the upper hand so narrative tension can continue. PTSD adds to this tension, explaining in part both the longevity of these franchises and how and why PTSD is popularised. The ritualistic transformation into Batman for example is a way of dealing with trauma. We also have nostalgia and utopian effect of the superhero community, plus affect remediates anxiety about present day crises by invoking a personal utopian past. In early incarnations this seems to take him into himself so he is lost in a world of the past. The various incarnations of Batman are significant, as are all the subsidiary characters who also suffer from trauma. This includes traumatic back stories, such as the Penguin who was thrown into the sewer by his parents, the Joker who was sexually abused, plus the Riddler and other enemies. Trauma is at the heart of the later incarnations of this franchise, mirroring how society has positioned trauma as central ontologically, that is, our being and existence.