Seeing with Shinigami Eyes: Death Note as a Case Study in Narrative, Naming, and Control

Kyle A. Hammonds, University of North Texas Garrett Hammonds, University of North Texas

Introduction messages. Meanwhile, Death Note writer Ohba (2008) has claimed that the story does Ohba & Obata’s manga series Death not have a moral, pedagogical mission. This Note has been met with increasing global essay will attempt to respond to the popularity since its introduction in 2003. seemingly conflicting claims of Frolich and Death Note comics originated in serial Ohba by demonstrating that the values of magazine form, became converted to trade Death Note creators are indeed conveyed paperback, and, eventually, were adapted through their story content and then into an anime TV series. The content has extrapolating whether there are productive been consumed in multiple countries across moral messages to be gleaned from the the globe, including the United States. narrative. First, we will use pedagogical Multiple live-action Japanese movies have theory to explore whether a legitimate been made based on Death Note comics and audience interpretation of Death Note the first live-action American movie content may be established, then provide a adaptation is set to debut on the internet- brief narrative analysis of Death Note’s streaming service Netflix in August of 2017. major story arc, and, finally, offer a reading Despite growing popular interest in the of the text that emphasizes a view of Death Note manga and adaptations inspired communication in which language is a major by it, though, very little scholarly work has power mechanism. been dedicated to understanding the narrative’s resonance with global audiences. The Story/Stories Frohlich (2012) showed concern that this lack of understanding about Death Note Death Note is a neo-noir(ish) story, could be detrimental because the story coopting elements of classical noir such as contains “apocalyptic ideas that are bizarre/nightmarish situations, a fascination controversial and potentially dangerous with death, interest in criminal characters [when] passed off as entertainment, stylized and their point-of-view, a resistance to meta- and made acceptable to a mass audience” (p. narrative through-lines, and the use of 143). In other words, Frolich recognizes the typical characters such as an attractive evil- powerful pedagogical potential of popular doer, an outcast detective, and a femme culture stories and wrote about his fears that fatale (Borde & Chaumeton, 1955). This Death Note sends dangerous moral permutation of noir may read as fascinating

The Phoenix Papers, Vol. 3, No. 1, August 2017 95 to audiences because it incorporates pieces suspects that Light is Kira, but is killed by of classic detective stories while Light and a Shinigami before he can gather simultaneously splitting the narrative point- conclusive evidence. The latter half of the of-view and using “cold” (covert) methods series involves Light rising to power in the of violence rather than the contemporarily Japanese police force and working with his popular and brash blood-spattering. Death father while secretly maintaining his identity Note is a cat-and-mouse game in which the as Kira. In his work as a serial killer, Light cleverest person wins – and with insight into recruits or otherwise seduces several the thoughts of multiple major characters, followers to help him carry out his the audience gets to play along with executions. One Kira-aide of note is a young guessing which characters will be successful girl named Misa who also carries a death in their attempts to thwart the others. note and who utilizes a power called the More specifically, Death Note is about a “Shinigami eyes” to be able to see people’s brilliant high school student named Light names above their heads when she who discovers a “death note.” This note, encounters them. Light manipulates and dropped by a Shinigami (“god of death”) exploits Misa to use her Shinigami eyes to named Ryuk, gives the owner the ability to tell him the names of potential victims. kill anyone whose name is written in the Meanwhile, L’s successor, Near, is able to note. The owner must also be able to picture take the research completed by L before his the face[s] belonging to the name[s] being death and use the information to build a written in the note. While keeping his successful case against Light. In the end, identity hidden and donning the moniker of Light is caught by Near and is eventually “Kira,” Light uses the death note to begin killed by Ryuk who has ceased to be killing convicted criminals in order to make entertained by Light’s antics. the world a better place. He quickly begins expanding his use of the death note to kill Popular Culture as Pedagogy those who resist him, who are a threat to him, or who meet his increasingly lax Popular culture stories, such as Death standards for what might constitute “evil.” Note, should be given scholarly (Light’s standards for good and evil are in consideration because these stories hold flux throughout the series, while other pedagogical potential and are accessed by characters such as Soirchiro and L have large audiences. If scholars are to relatively fixed moral codes.) Roughly the understand developments in epistemology, first half of the series is dedicated to Light’s ethics, and other praxical areas from cultural attempt to escape the suspicions of his groups, communication through popular father, Soirchiro, who holds various narrative must be considered. For example, positions of authority with the Japanese Hammonds & Anderson-Lain (2016) police throughout the series. Soirchiro is advanced the position that “popular culture aided by a mysterious detective who uses exists as the connections between people the codename “L” to protect his identity. L and cultural artifacts – objects that are

The Phoenix Papers, Vol. 3, No. 1, August 2017 96 physical manifestations of the structured this essay: (1) symbolic texts facilitate experiences of other people. Thus, popular communal sharing of experience and (2) culture is centered on understanding the these empathetic “sharings” influence collective experiences via cultural artifacts people’s life-stories. that connect us as humans…” (p. 111). This One study by Botzakis (2011) confirmed is to say that popular culture is a sense- by qualitative methodology that at least a making tool that connects people certain type of popular culture consumer – empathetically and/or intellectually through adult comics readers – utilize stories as a texts that either implicitly or explicitly tell sense-making tool. He concluded that, stories – which are, on some level, simply among those he interviewed, “comic book manifestations of experience. Insofar as pop stories… helped [interviewees] make sense culture texts – such as comics, television, of life events… The interrelated stories and and movies – require forethought paired characters created contexts that helped [the with selection and arrangement of reader] reflect on his own social world” (p. information, they offer a “plot” and 119). Readers would search for sense- constitute a narrative from the author. These making tools in pop culture texts and then narratives are sometimes coded into the “operationalize… [their] found knowledge” form of fiction, but they are still a reflection by making adjustments in their approach[es] of the author’s logics and values – the to true life experiences based on what they experiences which were selected and learned from comics. Botzakis’ research is arranged into the form of the text. The especially germane to studying Death Note narrative position being applied to popular because Death Note began in comics form culture in this essay is consistent with and its adaptations are rooted in this original Fisher’s (1984) narrative paradigm in which form. he articulated that “symbols are created and We agree, then, with Hammonds & communicated ultimately as stories meant to Anderson-Lain’s (2016) extension on give order to human experience and to research from Fisher and Botzakis when induce others to dwell in them to establish they argued that “narrative [in the context of ways of living in common, in communities pop culture] does not merely act as an in which there is sanction for the story that abstract concept or lens for understanding – constitutes one’s life” (p. 6). Fisher’s narrative structures are functional argument about his original narrative pedagogical tools” (p. 121). In short, all paradigm (as well as virtually his whole popular culture – including Death Note – body research after the establishment of his reflects the experiences of the author[s]. paradigm, collected in Human Even if these experiences are coded in the Communication as Narration: Toward a form of fiction, the fiction will always imply Philosophy of Reason, Value, and Action, the values that have fidelity to the author 1987/1989) supports at least two of the through its narrative structure and content notions about popular culture and their link (Fisher, 1984). Popular culture scholars to narrative and pedagogy being made in should therefore be interested in analyzing

The Phoenix Papers, Vol. 3, No. 1, August 2017 97 and understanding popular texts such as the Death Note story without giving specific Death Note, even if the authors claimed not regard to the outcomes for the characters. to have a conscious moral argument for the Such ambiguity has left other scholars (e.g. text in mind, because the text will reveal Frohlich, 2012) to capitalize on the lack of values and logics that are being diffused. analysis regarding consequences for Further, if the coded experiences of authors characters in Death Note’s overarching are always present in their stories, it is storyline. Frohlich agreed with Napier that reasonable to assume that legitimate Light/Kira was a protagonist being utilized hermeneutic readings of texts such as Death in the story as a mechanism for providing Note may be made, even without authorial structure and order; though Frohlich was backing of the interpretation. also more hesitant about whether Death Note may be understood in ways that are Narrative Analysis productive. He began his contention by quoting Death Note co-creator Ohba’s In some ways, understanding the response to a question about whether there historical and cultural background of the are moral messages in his narrative: Death Note series can provide insight into the motives of the creators in their “Not really. If I had to choose storytelling. Napier (2010) argued that something, I’d say, ‘Humans will all Death Note’s protagonist shows “echoes of eventually die and never come back to life, so let’s give it our all while the ancient Chinese school of philosophy we’re alive.’ Given that, I don’t think known as Legalism” which involved a belief it’s very important to debate whether that “humans were inherently evil (‘rotten’) Light’s actions are right or wrong. and needed strong rules and regulations to Personally, I only look at it as, ‘Light keep their baser nature under control” (p. is very evil,’ ‘L is slightly evil,’ and 358). Under this interpretation, Light/Kira ‘Only Soichiro is good.’ (Ohba & would be a righteous figure keeping order in Obata, 2008, p. 69) the world of the story. Napier added that Frohlich (2012) then concluded that because “the Death Note story has a lot to do with Ohba did not make a “strong declaration of present-day Japan and with its current his ethical intent,” that “readers are left to moral, social, and cultural dilemmas, such as accept the ethics of Death Note at face the use of the death penalty, the fear of value” (p. 149). But what are these ethics crime, the problem of bullying, and a that are left for the audience to accept? pervasive sense of meaningless and Frohlich took a decidedly cynical outlook on alienation” (p. 358). the series, making a final argument for the The genealogical elements mentioned by dangers of Death Note: Napier help to provide a context for the ideological contents of the Death Note “While apocalyptic religion, which narrative. However, Napier’s analysis concerns itself with the end of time, focused on symbolic qualities woven into is not uniformly antisocial, it has

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frequently been twisted throughout series, it does not make any specific history and across cultures to justify connections to the Death Note narrative. violence against supposed evil Further, we will argue, using Friedman’s persons... it is inconceivable that the (1955) typology on forms of the plot, that world would be a better place if only the rigid morality of a small group of Death Note is best understood as two stories people were realized. In Death Note, joined by a loose narrative arc. Light Yagami stands as the god of Frohlich’s (2012) conclusion that Death the new world, killing countless Note affirmed “a theology that justifies people and consistently affirming a killing people for the greater good” based on theology that justifies killing people Light’s supposed success in making the for the greater good.” (p. 153) world of the story a better place is an

extremely oversimplified view of characters Even though Frohlich provided a convincing and the consequences of their actions (p. case that elements of apocalyptic religion 153). Light’s story arc does not match the are a major feature of Death Note, we specific tenets of the American monomythic believe he fails to justify his conclusions figure in several ways: First, Ohba was that the story essentially supports and reifies explicit that he believed “Light is very evil,” utilitarian murder. One significant problem and, therefore, not designed as a selfless with Frohlich’s analysis is that he claimed to hero (Ohba & Obata, 2008, p. 69). Secondly, understand the narrative as an iteration of Light does not directly combat immediate the American monomyth (p. 132). The threats of evil; instead, he kills criminals explanation followed the generic narrative who have already been captured and/or of the American monomyth (e.g., a people who he feels could expose him as community is met with great evil and a Kira. Further, he often – either directly or selfless hero emerges to defeat the evil) to indirectly - killed people who were actively the belief that “Light Yagami exemplifies doing good in the story (e.g., FBI agents most qualities of the monomythic figure” (p. and, eventually, his father, Soichiro). Third, 132). To summarize Frohlich’s reading of Light’s moral code – specifically, who he is Death Note: Light is hero who emerges in a willing to kill and why – shifts over the corrupt world to provide structure, order, course of the narrative, leaving him with no and safety, albeit by potentially questionable consistent moral structure, besides methods. The methods are essentially selfishness, to be identified in narrative. justified in the story because Light does American monomyths, even as discussed by indeed inspire good in the world around him Frohlich, learn to act selflessly over time. and he does not face any significant Light’s narrative arc is the opposite of the consequences for his actions. one traditionally associated with the The American Monomyth does not, American monomyth. Fourth, Light’s ability however, fit the Death Note narrative in any to bring order and peace to a particular concrete way. As we will explain, although community, like American monomythic the American monomyth may seem to have heroes, was stifled by his constant a loose fit to certain parts of the Death Note

The Phoenix Papers, Vol. 3, No. 1, August 2017 99 willingness to betray and kill based on his particular structure whereby human beings selflish motives. Fifth, characters do not organize experience” (p. 109). These celebrate Light’s behaviors at the end of the structures may be either told (narrated) or story; rather, he loses everyone he loves to lived (narratized). Narratives that are told either death or hatred and is killed after (e.g., past-oriented and duo-temporal), being outwitted by L’s protégé, Near. follow a coherent sequence of events, and Finally, monomythic narratives – in virtually feature a clear beginning, middle, and end any culture – are typically limited to telling are stories. Stories may then be broken down a single story at a time. Based on these into “plots,” which Fisher (1988) practically reasons, we may safely determine that defined as a selection and arrangement of Frohlich’s attempt to understand the entire experiences uses to reveal “patterns Death Note narrative by selecting only typically… expressed as hypotheses, theses, certain points from each of the stories in the or thematic periods” (p. 49). The process of series and wedging them together in the emplotment is the arrangement of thematic similitude of the American monomyth has material into a coherent story structure. In neither hermeneutic coherence nor fidelity perhaps simpler terms, Friedman (1955) with Ohba’s view of the characters. In short, concisely told us that a plot should Frohlich’s interpretation does not shed light “complete some process of change for the on the narrative rationality (Fisher, 1984) protagonist for the sake of the sequence of used by Ohba and Obata. emotions which that process evokes in the Friedman’s (1955) typology on forms of reader” (p. 150). Sometimes a narrative will the plot illuminated the structures of basic essentially be a single story with a single stories – structures which may be useful for major plot. However, the original Death analyzing popular culture stories, such as Note manga series and its adaptations is Death Note. Identifying which of these story more complicated. In keeping of the markers structures may fit the Death Note narrative of neo-noir, Ohba and Obata utilized post- will provide framework for interpreting the modern methods of telling and resisted clear original Death Note manga text and its meta-narrative structures. Their narrative direct adaptations. The work of assessing cannot accurately be understood as a single story elements for narrative rationality story or as having a single major plot. Death requires a basic understanding of narrative Note is clearly a single narrative with terminology and functionality. Even though consistent elements (e.g., similar characters, the terms narrative, story, and plot are story points, etc.), but extended over a sometimes colloquially used temporal field marked by certain story interchangeably, these terms have also been boundaries, such as a beginning and end for used in more specific ways to convey Light’s use of the deadly notebook. On the differences in how tellings functions. In other hand, the Death Note narrative overviewing various ways that narrative obviously concludes a plot structure in have been historically understood, Allison which Light completes a character (1994) settled on defining narrative as “a arc/change, the status quo of the story

The Phoenix Papers, Vol. 3, No. 1, August 2017 100 reaches a counterpoise, and the antagonist of story, characterized by the conflict between the story (L) is defeated. After these events, Kira and Near, is structured by another story begins when a second plot circumstances and constitutes a form of a structure is imposed on the narrative. The plot of fortune. second structure introduces a new antagonist When Light first found the death note, (Near) and shifts focus away from Light’s he began a transformation from reasonably transformation of character in order to normal student, to vigilante, to serial killer. convey the way[s] in which Light’s hubris The detective, L, attempted to catch Light became his downfall. When understood as a and, in so doing, complicated Light’s ability single narrative featuring two different to function as a vigilante. Ultimately, L’s stories, Death Note becomes a set of dark involvement cornered Light into desperation morality tales connected by warnings about and helped to facilitate Light’s willingness the potentially creative or destructive to kill non-criminals. L also accepted more powers of language, as demonstrated by use and more morally questionable policing of the death note. techniques (violating privacy, explicitly To be more specific about the stories breaking laws, and being willingly to let included in the overall Death Note narrative, some people die for the greater good of two plot structures identified by Friedman catching “Kira”) based on his obsession with (1955) are easy fits for two different time the Kira case. The changes conveyed in this periods in Death Note. Friedman argued that part of the story fit with what Friedman there are three broad categories of plots (1955) called a “degeneration plot,” in which can then be broken into more which “a character change for the worse complex structures. These three broad occurs when… a protagonist who was at one categories are: plots of fortune, character, time sympathetic and full of ambition” is and thought. Plots of fortune are driven by subjected to “some crucial loss which results changes in the circumstances of a story. in his utter disillusionment” (p. 163). Light’s Plots of character are marked by changes in disillusionment with the world around him the moral standing of a character or was clear at the start of the Death Note characters in a story. Plots of thought narrative before Light discovered the death highlight the ways that a character or note. He is melancholy, attentive to evils community’s ideas and/or feelings are such as murder and robbery in the news, and influenced over time. While Death Note his only significant life motive is his does indeed spend time convey the inner academic ambitions. Finding the death note thoughts and feelings of characters, these and realizing its powers gave Light a new thoughts and feelings do not seem to provide sense of purpose, which he protects to overarching structure for a story in the dangerous ends. His moral character narrative. Instead, we will argue that the first degenerated during his conflict with L as he portion of Death Note, characterized by the relaxed his standards for who was worthy of conflict between Kira and L, is a form of a death and he manipulated people around him plot of character; meanwhile, the second

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(particularly, his faux-girlfriend, Misa) in are condemned and that his methods of order to fulfill the urges of god-complex. wielding evil are warning lessons end up After L was killed, Light’s change of being more coherent in consideration of character was complete. A story began in multiple plots – and holding more fidelity which Light’s moral character remained with Ohba’s description of the narrative’s stable, but his circumstances became morality – than the apocalyptic religion increasingly complicated by the argument advanced by Frohlich. Very investigation of L’s successor, Near. The simply, the corrupting nature of power “Kira v. Near” story may be best understood seems to be the major theme of the overall as a “punitive plot,” which Friedman narrative. Perhaps more insightful is the fact described as plot that is marked by when “a that the major tool of power used by protagonist whose character is essentially characters in the series is language. Every unsympathetic, in that his goals and move Kira makes to strengthen himself purposes are repugnant, yet who may comes from words – his ability to access perhaps be admirable for his strength of will language to describe people gave him or intellectual sophistication” suffers “well- control of their fate. Interestingly, Ohba and deserved misfortune” (p. 159). “Kira v. Obata also utilized a narrative device called Near” fits as a punitive plot because Light the “Shinigami eyes,” in which a Shinigami has already finished the process of moral could provide a death note owner with the degeneration and the story shifts to ability to see potential targets’ names essentially being about how he loses his floating over their bodies. Essentially, the loved ones (i.e., his father dying, his sister Shinigami eyes gave death note users the being kidnapped, and his co-workers/friends necessary language to control someone discovering his identity as Kira), was else’s life story. As Napier (2010) observed, defeated at the hands of Near, and killed by a death note functioned narratively as “an Ryuk. object onto which identity is literally, but Neither storyline in the overall narrative lethally projected” (p. 359). She rightfully imply that the authors condoned Kira’s argued that “in Death Note, the power to actions – while there may be moments of name, i.e., to recognize identity, becomes praise for Kira’s intentions in the story, the the power to kill” and to “expunge identity” first plot conveys moral degeneration and (p. 359). The moral pedagogy of the series, ends tragically with the death of a celebrated then, may be in the series of examples and character (in other words: Light’s victory allegories that communicate that the way we cannot be fully enjoyed by the audience who talk about things influences the way we lose a significant and sympathetic think about things… and that both our character). The second plot ends with Light present and future identities depend on how losing everything of value to him and being we talk about ourselves and others. To “see killed. In determining the narrative with Shinigami eyes” is to discover rationality (Fisher, 1984) of Ohba and language that gives access to power. Obata, the interpretation that Light’s actions Exploring this notion of naming and power

The Phoenix Papers, Vol. 3, No. 1, August 2017 102 in the context of Death Note, and then construction in Death Note is naming examining true life applications, is one through language. potentially productive way to approach To give context and provide an example: Ohba and Obata’s narrative. the first two characters introduced in the story, Ryuk and Light, create the chain of Death Note as Communication Allegory events that unfold over the course of the story because each of them were bored or In keeping with the theme of language otherwise dissatisfied with their lives at the and power, Death Note may be viewed as an beginning of the narrative. To compensate example of the social constructivist theory for this boredom, Ryuk decided to drop his of communication. Berger and Luckmann book of death to be discovered in the human (1991) coined the term social constructivism world. Light happens to find Ryuk’s death based on the principle that people work note and immediately reads that “the human together to create things in the material whose name is written in this note shall die.” world around them (e.g., artifacts). They The audience is immediately exposed to the specifically focused on creation as a product power of naming as related to the of interpersonal or group interaction. Their supernatural abilities of the note. Because of theory has since been expanded to the notion these abilities, Napier (2010) argued that that human interaction is the basis for the Light is highly motivated to protect and use cultural patterns that create our social the death note because it is “an immensely experiences. Post-modern epistemologies powerful object of desire,” similar to the and pedagogies (Fassett & Warren, 2007) ‘the one ring’ for Frodo in Tolkien’s story are largely grounded in this belief that The Lord of the Rings. In accessing his [perceived] reality is cooperatively built newfound power, Light constantly paired from social experience. More modernist language with material consequences. The epistemologies may also be inclusive of the bond between language and reality is so belief that language and perception play a closely knit in the narrative that Light significant role in understandings of reality cannot even use the death note without as well; albeit with less emphasis on the permuting language (e.g., someone’s name) absolute scope of language in creating with someone’s face. From a social reality. Regardless of epistemological constructivist position, Light’s precise but approach, that language is a significant hurtful use of language not only leads to the source of power is generally agreed upon immediate consequence of particular people across frameworks. Allegorical reference to dying, but also the catastrophic chain social constructivism in Death Note reaction of impacts on others in the world of becomes evident as the characters, mentally the narrative, including death and scrimmaging against each other with destruction to the lives of police language and information, find their investigators and the general world decisions intimately influencing one population. Recognizing language as a another. The coalescing point for social coalescing point of power is key to realizing

The Phoenix Papers, Vol. 3, No. 1, August 2017 103 both the way Death Note characters can dehumanize – such as what is described actualize power and methods by which real in Fanon’s work – or a technology to individuals access power on a day-to-day encourage and build people up. basis. Iwanicki (2003) elaborated on The intimate, but almost dialectical materiality and the body by saying that “just connection between the abstract nature and as we possess bodies that ‘mark’ our the materiality of language is pervasive in existence in the world, the ways in which we the Death Note stories. For example, while use and understand language also contribute Light wields the power of life and death by to this process… no body/nobody is literally simply writing down names in his note, ‘invisible,’ and no word is neutral” (p. 496). there are specific rules that govern the way The language we use contributes to defining the death note may be used. These rules existence: this is not only for the self, but for include intricate details such as having others consociated with our language as merely forty seconds to specify the details of well. Language is not used in a vacuum – it a death. Many of these rules limit the extent shapes and is shaped in dialectic scenes or of Light’s influence based on specificity of what Lafebvre (1991) called “social spaces” language. Within certain boundaries, (p. 291). The concept of social space though, Light possessed the power to dictate stemmed from the study of the sociology of other people’s actions through his writing. space. One key element of social space is Language tied to the materiality of the body spacial-practice, which is an area where is a truth that all beings face in the Death dialectic interaction is materialized. In short: Note narrative and is no less a reality to thought, language, and action usually everyday people in true life. simultaneously interact and impact the In discussing language and materiality, world as they are happening. For example, Fanon (1967) hailed to the example of kids in grade school might use stereotypical French colonists who used language as a language (e.g., “nerd” or “jock”) that would form of control over their colonized not necessarily be socially expected or subjects. In the Antillean Island of useful in very many other contexts. Martinque, the capital of Fort De France However, in school contexts, these labels became a representation of French may function to either elevate or deteriorate assimilation. One major element of this the reputation of other people and, therefore, assimilation of acceptance into French determine how those people are treated by culture was to speak like the French. The their peers. The use of language directly language spoken in these contexts influences the material ways that people constituted the existence and value of the interact with each other in space. Lafebvre native Martinician or Antillean people. In argued that it is common to see struggles for similar ways, language continues to power and domination in such social spaces. construct contemporary existences. In Death Note, Light used language to Language and existence go hand-in-hand, actualize his own form of justice and inflict acting as either a form of domination that judgment that granted him a position of

The Phoenix Papers, Vol. 3, No. 1, August 2017 104 domination in his social groups. In so-doing, a possible future trajectory. Wojecki’s study Light tried to position himself as being even results harmonized with Sapir and Whorf to better or more powerful than the Shinigami indicate the strong link between narrative – taking on the label (new name/new and identity. identity) of “Kira” to express his growing People commonly access designated god-complex. Outside of Death Note, identities to determine behavior. For quintessential people use language as a tool instance, if a person wanted to take a of power on a daily basis as they compete vacation, they would go through a mental for job positions, promotions, publications, process of describing future-oriented political capital, etc. The way people use situations (e.g., where to go, what to do once language in social spaces is often with the there, etc.). Mental decision-making view that our existence is defined within a processes would be influenced by previous zero sum game. With limited jobs, ranks, stories that the vacation-goer had heard, and other positions of power, domination is such as choosing a destination that had been a limited resource. Labeling other people, on labeled by friends or other people as “fun,” both individual and group levels, lends itself “exciting,” “adventurous,” or whatever to restructuring the way people think about terms appealed to them based on their each other with a re-centering of the self as a previous experiences. This process of source of value or power. imagining or verbally describing the future, In the end, Death Note’s allegory on much like a more optimistic version of language and power teaches us that narrative writing names and situations in the death acts as an outline for action. Sapir (1929) note, leads to the materialization of our and Whorf (1940) famously conducted a set stories. Allison (1994) called this process of studies that indicated that language narratization. Narratization is the “ongoing directly determines the way that we think – mediation of [a person’s] own physical something exemplified all throughout the and/or verbal actions within a temporally Death Note narrative and most explicitly configured field in order to achieve an with the death note itself. If words influence envisioned but, as yet, unrealized end” (p. how we think, then descriptions from both 109). That is, people usually plan simple ourselves and others impact who we think “plots” for their lives and then enact them. we are and what we believe we can do. For Humans learn from experience – prior example, Wojecki (2007) extended from stories – to determine which structures to act Sfard and Prusak’s (2005) research on out in order to realize their goals. To narrative identity by demonstrating that, at complete the example: when the vacation- least in learning-oriented contexts, the way goer finally takes their vacation, they engage people talk about who they are (“actual in a narratization process of the particular identity”) typically determines their personal plot they set for the trip. performance; however, the way people talk In Death Note, the connection between about who they can be (“designated thought and language was woven together identity”) can adjust present behaviors to fit through labels. Kira continuously planned

The Phoenix Papers, Vol. 3, No. 1, August 2017 105 how to create his new world via outlining language and how we use it still works to when and where to kill and otherwise define our existence through actual and manipulate the life stories of the people designated identities. The pedagogical around him. Equally as fascinating and warning of Death Note is to use language allegorical is L’s use of language and transparently and responsibly. In this vein, narrative in the Kira investigation. L we agree with Soichiro that even though accessed various, disparate facts – rogue “nobody said it would be easy to speak the “plot points” – that he connected together to truth… [but] it has to be done. Especially form a narrative about Kira’s identity. The something that is not easy to say” (Inoue, stories that L told about Kira influenced 2006). other investigators and officers to follow his commands/plans for apprehending Kira. References Both the death note to Kira and the almost mythical reputation of L give each character Allison, J. (1994). Narrative and time: A increased opportunity to wield the power of phenomenological reconsideration. Text language. and Performance Quarterly, 14, 108- In the end, Kira consistently rejected 125. Ryuk’s offer to give him the Shinigami eyes. Berger, P., & Luckmann, T. (1991). The While these powers would indeed give Kira social construction of reality: a treatise access to more language and more power, it in the sociology of knowledge. is clear why Kira consistently rejected the Harmondsworth: Penguin Books. “eye power:” he was already the most Borde, R., & Chaumeton, E. (1955). A verbally intelligent and linguistically skilled panorama of American film noir. San character in the story. Kira used his words to Francisco, CA: City Lights. cooperate and encourage as well as to Botzakis, S. (2011). To be a part of the manipulate and murder. Even though he did dialogue: American adults reading comic not literally take the power of the Shinigami books. Journal of Graphic Novels & eyes in the story, it was as if he had their Comics, 2(2), 113-123. power already. Fanon, F. (1967). Black skin, white mask. The power of words to access the New York: Grove Press. identity and existence of another human Fassett, D., & Warren, J. (2007). Critical being through naming, labeling, and communication pedagogy. Thousand narrating is no small ability. In the Death Oaks: Sage Publications. Note narrative, the connection between Fisher, W. (1984). Narration as a human language and identity was literalized communication paradigm: The case of through the death note essentially giving public moral argument. Communication Kira an opportunity to have ultimate Monographs, 51, 1-22. dominance based on his power to Fisher, W. (1988). The narrative paradigm manipulate other people’s life narratives. and the interpretation and assessment of Although often more unnoticed in true life,

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historical texts. Journal of the American Napier, S. (2010). Death Note: The killer in Forensic Association, 25, 49-53. me is the killer in you. In F. Lunning, Friedman, N. (1955). Forms of the plot. Mechademia (356-360) Minneapolis, Journal of General Education, 8(4), MN: University of Minnesota Press. 241-253. Ohba, T., & Obata,T.(2008). Death Note 13: Frohlich, D. (2012). Evil must be punished: How to read. San Francisco, CA: VIZ Apocalyptic religion in the television Media. series Death Note. Journal of Media and Sapir, E. (1929). The status of linguistics as Religion, 11, 141-155. a science. Language, 5(4), 207. Hammonds, K., & Anderson-Lain, K. Sfard, A., & Prusak, A. (2005). Telling (2016). A pedagogy of communion: identities: In search of an analytic tool Theorizing popular culture pedagogy. for investigating learning as a culturally The Popular Culture Studies Journal, shaped activity. Educational Researcher, 4(1), 106-132. 34(4), 14-22. Inoue, T. (Writer). Tsuchiya, H. (Director). Whorf, B. (1940). Science and linguistics. (2006, October 17). Torihiki: Deal Technology Review, 42, 227-231. [Television series episode]. In Mikiko Wojecki, A. (2007) What’s identity got to Kobayashi’s, et al (Producer), Death do with it anyway? Constructing adult Note. Nippon Television Network learner identities in the System. workplace. Studies in the Education of Iwanicki, C. (2003). Living out loud within Adults, 39(1), 168-182. the body of the letter: Theoretical underpinnings of the materiality of Correspondence: Kyle A. Hammonds, language. College English, 65(5), 494. Department of Communication Studies, Lefebvre, H. (1991). The Production of University of North Texas, Denton, 1155 Space. Hoboken, NJ: John Wiley and Union Circle, Denton, TX, USA. Tel. (940) Sons. 565-2588. Email: [email protected]

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