The first was episode 3 of Death Note (2015) wherein we begin to see Light transforming into a very recognizable and familiar Kira.
During the opening scenes, Light is very frightened; devastated because L is getting too close and gleaning too much from very little information. There's the sense that Light knows he's in over his head, with the horror becoming even more real once it occurs to him that his own father would be the one to arrest him.
This is all juxtaposed against a flashback scene, wherein we see a very young Light playing at cops and robbers with his father. He obviously idolizes him and wishes to emulate his father further by becoming a police officer. Innocence, love and enjoyment are all there in the bonding, while Mrs Yagami (Light's mother) looks on, fondly, proudly, and an infant Sayu is brought into the game. They were a close-knit, loving family.
The first time Light used the Death Note with any understanding of the consequences, it was to save his father from a dangerous siege situation. His earliest justification for the notebook's continued use was that he could protect his family by creating a better world. Even so, he tore himself apart emotionally, analysing each murder, filling his self-reflections with seemingly endless angst.
Now there's the killer, like a split personality beneath the surface threatening to overwhelm the whole. Ready to kill his own father - at the barest suggestion from Ryuk that he should - in order to avoid exposing himself as Kira.
Nor does this fact even seem to penetrate. Light merely meditates upon the danger posed by L and strategizes how to defend himself from it.
He's no longer protecting his father, his family or society at large. He's losing all conscience in a bid solely to retain his freedom to act as Kira. Or, at least, protect Kira as a separate entity who just happens to share his own self.
Ryuk several times comments that he can perceive a 'Kira face' upon Light's features. The viewers can see it too, particularly as he constructed his secret cabinet inside a desk drawer and later as he came up with a plan to massacre all Kira assigned FBI agents.
It all puts me in mind of Milton's Paradise Lost and the original Light bearer - Lucifer - bellowing out, 'Evil be thou my good!', even as he is lost to the flames. Twice Light played with fire and both times concepts of good and evil were transplanted beneath the gaze of Kira.
This isn't merely a mental distinction. As Misa - now physically transformed herself with shinigami eyes - peered out across the audience at her concert, she spotted a deep significance in Light Yagami's aspect. He alone, amidst all the crowd, had no death date on display above his head.
He is now quite permanently Kira.
Split Identities in Death Note Episode 3
We had things practically banal in comparison to the rest - like the Japanese task force all being given IDs with names akin to their own, but slightly misspelled or otherwise minutely changed. Each of their ranks were altered too.
Then there's the ordinary strangeness of this Death Note show's Naomi Misora substitution - Cathy Cambell (or Campbell, in the English subtitles) - choosing to write her full name on the back of a photograph for her fiancée. Considering they were poised to be married, you'd think that Raye Penbar would recognize the lady in his arms on the other side, and barely require her first name in the caption, let alone her surname too.
It just seemed a little like she was writing on behalf of someone else. (Or else it was an overly contrived plot line to facilitate Kira later.)
None of us yet know what's going on with Near and her Mello puppet. All points to Near projecting her darker musings upon a doll of her peer, but each time she addresses Mello personally, she looks above or beyond the toy.
There's another very significant deviation from norm in the dynamic between Near and Mello. Now it's Mello wanting them work together, while Near is circumspect, as it won't make L happy.
My partner is convinced that Near and Mello both exist solely inside L's mind. That he's the one with multiple personalities and they are our hint towards it. Eventually we'll find out that L is Kira and no-one in this show existed, except Watari, who's L's carer in a psychiatric ward.
Whatever the reality of Near, we can know that she identifies firmly with Christ, as depicted in the stained glass above the landing of the stairs. I previously thought this was Mother Mary at the Nativity, but I've since watched the show in high definition. That's Jesus Christ in 'suffer little children to come unto me' mode.
It compares with Mello's Archangel Michael - Fall of the Rebel Angels - on the other side of the room.
Nor are Wammys the only ones linked with deities, there's someone divine standing right alongside Light too.
Framed Picture on Light Yagami's Wall
Light's bedroom is filled with interesting knick-knacks, ornaments and posters. Each episode thus far of Death Note (2015) television drama seems to focus upon another piece, that's usually pertinent to the plot at hand.
This time, the camera angle quite blatantly drew our attention to framed artwork on Light Yagami's bedroom wall. For a moment there, we seemed to be zooming in on it, but the close up shifted onto Light's face.
The art is some kind of small tapestry, or embroidery, with tassels at each edge. The figure within appears to be highly stylised and based upon an original woodcut. But who is it?
My mind, attuned as it is to Western mythology, immediately supplied the fact that I was looking at Satan. But why would a Japanese young man have the Christian anti-Christ on his bedroom wall?
Instead I'm assuming this depicts a Japanese deity, or mythological creature. However a long perusal through various image searches hasn't produced a contender.
Who is this being displayed so prominently alongside Light? Can you identify them and their context?
He would fit in very nicely with Kira's self-perception and wouldn't appear out of place amongst the other pieces depicted in that bedroom. Moreover, Bishamon would be invoked to ward away invaders or personal enemies. The focus here occurs while Light is deeply upset because L is onto him. This is mere seconds before his father turns up with a police colleague to investigate Light's association with Misa's (deceased) stalker.
Both circumstances in which Bishamon's good fortune might usefully be evoked by a desperate Light Yagami.
Nightmare of the Dreamweaver in Death Note
This time it was our protagonist musing upon aspirations.
Dreams are just about self-satisfaction. Everyone has a mission in life.
~ Light Yagami
All this from the man who, in the first episode, stated that his ambition was to be nothing special. Just a public servant with no excitement in his life. Where did this 'mission' thing come from?
His morality seems changed utterly. But so does everybody else's too.
Everyone's a Potential Kira Now!
We're not just talking about Kira either. Half the people there appeared on the verge of killing, or actually going ahead and doing it. Particularly as concerned the preservation of self or family.
- Kira (Light) would have murdered his own father to protect himself;
- Raye Penbar was ready to kill Light to save his fiancée Cathy Cambell;
- He actually murdered several colleagues with a Death Note in the same cause;
- Misa did kill Raye with her Death Note to stop him pulling the trigger on Light;
- L consistently sends his people out into potentially deadly situations, especially Raye;
- Soichiro seems practically suicidal in his zest to enter the Kira case in the almost certain knowledge that he could be killed. All to protect society, justice and his family;
- Near accuses Mello of wanting to kill Kira.
Then you had both Ryuk and Rem urging their respective humans (Light and Misa) to write in their Death Notes.
In fact, murder was downright normalized in this episode, like we were all transforming into mini-Kiras and losing bits of morality to justify the change.
Fifty Shades of Yagami Grey (Well... 3)
Sayu's school uniform skirt, Light's shirt and (later on) a bag filled with a change of clothes for Soichiro all seem to have been cut from it.
Of course, black and white checks tend to produce an overall effect varying shades of grey. Pretty much like Light Yagami's moral outlook as he hurtles headlong into his Kira persona.
In the meantime, Misa marks her descent from subject of a Shinigami stalker to a Death Note wielding Kira by switching clothes. She's usually in red (just as L is in white and Light tends towards dark colours), but killing Raye saw her donning red and black chequered clothes.
Later on, she would be seen totally in black.
It's a little stylistic colour coding, which may have deep, profound meaning as the show goes on. Or might just look pretty.
Plot-hole Ahoy! Misa in the Warehouse
One second, she's receiving her Death Note, getting to know Rem and surrendering half of her remaining life span, so she might acquire shinigami eyes as this season's must have accessory. So far so perfectly normal within the Death Note universe.
Misa is able to identify Light as another Kira, as she can't read his death date with her preternatural vision. She could grab his name though, which she completely mispronounces in conversation with her Ichigo Berry pals.
Then nothing to explain how she went from that to being on site at the precise moment when Raye Penbar was about to kill Light.
Even if she'd tracked Light down via his name and some fan mailing list, there's no reason for her to know where he is at any given time. Nor for her to turn up on the off-chance that she might be able to save his life.
Did I miss something?