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Actually the only good end to the death note 2020 oneshot would be for Near to join a Transformers discord group and make new friends who think his dry humor is hilarious, viral, and engaging. They all share a Minecraft server and Near builds a fake grave for Kira that says “Here lies idiot dipshit Kira” and everyone claps.

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mafia near

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AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAh

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I feel like there’s something very cultish about Wammy’s House. I looked up common characteristics of cults and found these similarities:

Recruitment: The residents at Wammy's House are some of the vulnerable humans imaginable, not only children who are impressionable and helpless by nature but specifically orphans who by definition don't have anywhere else to go, have no other ties to the outside world such as family or other adults to advocate for them or help guide them in life, and are completely dependent on the Wammy's House for their care. 

Isolation: Recruits are whisked away to an isolated and secretive place which is likely in another country or even across the world, where their pasts are erased, identities are stripped and re-assigned. Like previous mentioned they inherently have no ties to the outside world, which leads into the next trait...

Control over members lives: As a private orphanage/school Wammy's House controls every aspect of its children's lives and they are only allowed the freedoms, opportunities, direction and experiences the institution provides and permits them. It also establishes their life goal for them and monopolizes all their time, thoughts and physical energies in service to the institution's vision.

Us-vs-them mentality: The idea that this an elite and fundamentally special group of people, the world's most gifted children, with a special purpose. Where belonging is proven through the competition in an environment where the kids are publicly measured against each other and with the underpinning implication that their value and potential as humans is tied to their performance. This also raises the question of what happens to a child who is brought in but then fails to perform at the high level expected, are they shunned - cast out back to another orphanage that is perhaps not so materially nice and permissive with its kids?

A charismatic leader: How the entire organization revolves around the veneration and almost religious ideation of a human leader (L) who is the living embodiment of a practically unreachable ideal and to whom members proclaim zealous loyalty.

Apocalyptic thinking: The stated purpose of the house is centered on waiting for the unavoidable cataclysmic event of their charismatic leader's death and about how the new order will be established after.

Conformity and control: All of this happening within a closed-system echo-chamber environment.

..............

So yeah, those boxes get checked. I'm sure it's all fine and none of the orphans will come out of that system messed up at all though, right?

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now it’s time to hit ‘em with the sexualizing that old (dead. rip) man

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I finished rewatching Death Note. I always forget how short anime is, with episodes that aren't much more than 20 minutes when you skip the intro/outro.

I hadn't remembered how much of a sniveling wreck LIght was at the end of the show. There's something about the ending that makes it feel like it was written and directed by a different person, not that Light wasn't always a little weird and pathetic, and not that the show didn't consistently go out of its way to let us know what a piece of shit he was (particularly his absolute lack of loyalty or empathy to anyone, even aside from the megalomania). But he takes the loss like a loser, snot dripping from his nose, voice cracking, begging, and it's so pathetic that I almost felt a little sorry for him.

I've always found the Death Note to be a very interesting prompt, one of those hooks that's so good I'd want to watch it even if it was bad. But in writing something like Death Note, the author has to make decisions about what to show and what not to show, and also make decisions about how they're going to portray the public at large.

There are two big things that stand out for me.

One is that we never get someone arguing against Kira. We get people who are actively trying to hunt him down, but they're mostly not stopping to say "this is why what he's doing is wrong" except a few lines about how he has a childish sense of justice, which is never expounded upon. Kira, on the other hand, we hear a lot from, not just the megalomaniac stuff, but the notion that criminals must be punished, that this is what people desire in their hearts. I get the strong sense that L does not actually care and just views this as an interesting puzzle for him to solve, but for everyone else it's largely left as an exercise to the viewer, and even then, there are moments when some of our task force members come dangerously close to endorsement.

To the extent the show has an answer, it's that (to quote Kanye West) no one man should have all that power, or that Kira has crossed a lot of lines, but no one argues in favor of rehabilitation or clemency or just fundamental humanity. Kira seems to largely be killing prisoners, who have already been sentenced, and are wards of the state, and he says "this is what people want deep down, they will give you the politically correct answer but they actually want the criminal class to be obliterate", which ... there's no character who actually voices any opposition to through the whole series. And I find that weird, because yes, the show has its own answers in terms of how it plays out, but in a show filled with people possessed of immense conviction, most of the people in opposition to Kira are just intellectuals who don't actually give a shit about the ideological question.

(The one big moment when it comes to a head, IMO, is when Soichiro Yagami refuses to write Mello's name entirely because of his principled objection to killing someone. I thought this was great, and I wish the show had more of it.)

The other big thing is that we don't really get a viewpoint of the criminals, with a few exceptions. One is the is Yotsuba group, who are killing people with the Death Note, and the second is the (somehow still functional) mafia that Mello hangs out with. There's also one other scene somewhere after L's death where we see a criminal begging with the police not to have his name written down, and that's about it.

The naive view here is that the show really does believe in Criminals as being a part The Other, a different sort of human being who walk among us. The criminal class are described as rotten and evil, they're shown as grotesque and with exaggerated features or bestial characteristics, and they're generally leering and impulsive. There is no consideration of their humanity.

There's a more nuanced take here, which is that we have a criminal as one of our main cast, Light Yagami, along with everyone else who takes on the Kira mantle. So what is the show saying about criminality through how it portrays them? And here ... I don't know. I kind of don't think that it views them as criminals in the same way? When we look at the ways that Light kills, I genuinely do think that the show thinks that this is different from the way that a capital-C Criminals kill. It's reactionary rather than criminal in and of itself, a response to the injustices of the world rather than being in the same class as those injustices. Light is narratively exempted, and Misa is to. Which isn't to say that I think the show thinks highly of Light, it clearly doesn't, especially in its ending, but I almost think that in the end it Others him too (and also has Teru Mikami drawn in particularly 'evil' style, like a creepy deviant gremlin).

So I enjoyed the rewatch, but there are things that sit a little oddly with me as far as the central themes go. There's probably some discourse I should read that's come out since I first watched it in ... 2010 or whenever, but I think I'll give that a skip.

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Mello's unprinted inner monologue per Volume 13:

"His commanding stature...his beautiful romantic grey hair...yes I'm aware he's about to kill me, and yet.... I just can't bring myself to shoot first. UGH god he's so hot - absolute DILF"

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Happy “Soichiro dies and it’s Mello’s fault” eve. Anyways here’s them kissing LMFAO

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....Mikami? Is that you?

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Rating Reactions to Seeing Shinigami for the First Time

A comprehensive (and probably biased) list :-)

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Chapter 1 - Light

Falls on the floor and screams, then recomposes himself and very unconvincingly pretends he expected this. This is the first we get to see of Light's Perfectly Normal And Chill Guy persona and I have to say it's not a strong introduction to his acting skills. He gets points for entertainment value though, and also for managing to scream without attracting the attention of his family???

Rating: 8/10

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Chapter 7 - Kiichiro Osoreda

This is the guy who performs the bus-jacking that forces Raye to show his ID. It's a very entertaining scene, but he's being controlled and his reaction is therefore inauthentic, which makes it difficult to give him an accurate rating.

Rating: 0/10

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Chapter 26 - L

This one doesn't technically count because L is merely hearing about Shinigami rather than seeing one, but it's too good not to include. He silently falls off his chair while actively solving a murder case in which the main cause of death has been heart attacks. Naturally the entire task force panics and thinks he's dying, and he does nothing to assuage these concerns. Absolutely iconic of him. Also makes for brilliant foreshadowing.

Rating: 10/10

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Chapter 46 - Misa

We don't get to see Misa's very first reaction to meeting Rem, but we DO see their reunion during the Yotsuba arc, and she is horrified. She screams just like Light and L did, and her fear persists as long as Rem's hand is covering her mouth. She reacts pretty much how I would expect the average person to.

Rating: 5/10

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Chapter 53 - Soichiro

Another pretty standard reaction. Falls backwards, screams and immediately reaches for his gun. Nothing remarkable about it.

Rating: 3/10

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Chapter 53 - Aizawa

Exact same reaction as Soichiro, but he gets extra points because this panel of them both panting on the floor is utterly delightful. The eyes?? The pose???? They look like a pair of petrified crabs. I'm obsessed.

Rating: 8/10

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Chapter 53 - L (again)

L has heard that Shinigami exist and already knows that there's a "monster" attached to the notebook, so he's not surprised at all by the time he actually sees Rem. Instead, he starts having such an intense and paralysing epiphany that he doesn't even notice Light taking the Death Note from him. The least dramatic reaction so far but incredibly on-brand for him in every way.

Rating: 6/10

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Chapter 70 - Rod Ross

Freaks out once he actually sees Sidoh, but he's incredibly relaxed about the notebook flying beforehand. His line "I wouldn't be surprised if it's alive" is hilariously ironic given that the notebook does turn out to have a living component to it, and this does, in fact, surprise him.

Rating: 7/10

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Chapter 70 - Kal Snydar

One of my favourite reactions purely for the implication that Rod might have recruited an 8-foot-tall man in a monster costume. Perfectly reasonable assumption to make.

Rating: 9/10

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Chapter 70 - Mello

Much like L, everyone around him is panicking, but he stays impressively nonchalant. Immediately starts plotting ways to manipulate the demon creature for his own gain. This is essentially L's reaction if he was 90% more unhinged.

Rating: 10/10

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Chapter 101 - Near

Only character to look genuinely happy about seeing the Shinigami which is an instant 10 for me. He gets an extra point for having the most precious smile ever <3

Rating: 11/10

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It's been 4 years, he is on top of the American mafia's hierarchy to the point when the leader himself pretty much agrees with everything he says and yet the first thought that the audience sees is "I have to beat Near and it doesn't matter what I have to do@%#^#&#&&", which basically means that Mello could have the whole world in his hand and it will mean nothing if he can't use it to beat his rival which basically means that Near's approval is more important to him than morality and time and power and life which basically means that we will be forever left with the question of how the fuck Ohba wrote this shit without realising how gay it is

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they didn't have him yesterday :') he is so ugly

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you're allowed one extreme misinterpretation of the blorbo as a treat.

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i really don't think Mello gets enough credit for how good he is at staying calm in a crisis. like when he finds out Takimura is dead:

the rest of the mafia is in shambles, but Mello? smirking. unbothered. already moved onto his next plan.

and when the police force kills all his allies and raids his hideout:

he exhibits mild annoyance at best. he's certainly not happy about it, but he looks kind of pissed for about 2 panels, and then he immediately launches into action, focusing on self-preservation and taking measures to prevent the Death Note from falling into their hands. he's still moving, still calculating, still thinking on his feet. he didn't expect this but he's prepared for it, and when we next see his face in the monitor room:

smirking. totally unbothered yet again.

compare this to how Near reacts when the SPK raids his base:

angry. immediately breaks something. he does have a plan, and he jumps into action fairly soon after this, but he stays angry even while he's making preparations, and starts insulting the people who are attacking him.

to contrast this specifically against the scene of Mello's base being raided; both are about to lose access to their main hideout, both are at a genuine risk of being killed, and both have backup plans for their respective predicaments, yet the notoriously cool, calm and collected guy reacts more emotionally than the emotional guy.

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Thinking about how when Mello marched Halle Lidner into the SPK at gunpoint it wasn't because she was truly a hostage. She would have taken him there to meet Near regardless, and Near would have let him in regardless. It was to cover for HER - so Near wouldn't know, or to at least make it less obvious to her other colleagues, that they'd been in collusion behind Near's back.