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ABSTRACT
This paper explores the impact of divinity and divine imitation in the anime series Death Note by 

Tsugumi Ohba and the novel Parable of the Sower by Octavia Butler, comparing the philosophies 

of their respective protagonists and the success of their utopian visions. Death Note’s protagonist’s 

utopian vision become dystopian because of his violent tendencies and pursuit to become a god, 

while Parable of the Sower’s protagonist’s utopian vision succeeds because of her trust in others and 

her view of god as an ever changing force that people must shape to survive.

By Allison Akers

Divinity and its Imitation in the 
Utopian Visions of Death Note and 

Parable of the Sower



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INTRODUCTION
 Divinity and utopia are often intertwined. Utopia represents an idealized society and 

shapeshifts based on a person’s perception of a perfect world. The utopian concept has existed for 

hundreds if not thousands of years, even if it did not have the title of “utopia” that Thomas More 

coined in 1516. Early examples exist in Christian narratives such as the Garden of Eden and the 

prospect of eternal paradise beyond the earthly plain, if a person is virtuous in life and follows 

teachings in the Old and New Testaments. In modern examples, literature and television shows such 

as Octavia Butler’s Parable of the Sower and the anime adaptation of the Death Note manga series 

by Tsugumi Ohba focus on returning paradise to Earth, although the success of each work’s utopian 

vision is determined by the protagonists’ view of God and how they choose to imitate divinity. Death 

Note’s utopian vision is a failure because its main protagonist focuses on obtaining godhood, while 

Parable of the Sower’s vision is successful because it relies on the betterment of society and viewing 

God as change.

 Butler’s novel highlights issues like dependence on material possessions, class status, and 

family dynamics to correct them and create a perfect representation of what society should be in 

post-apocalyptic Los-Angeles, while Death Note focuses on human nature’s violent tendencies and 

purging the world of sin in modern Japan. Utopia for one person cannot exist without encroaching 

on the happiness of another, leading ultimately to failure, sometimes at a catastrophic level; it is a 

desert mirage: beautiful and full of possibility and hope, but when examined up close, it dissolves into 

nothingness. Pure utopia cannot exist on Earth, because humanity is flawed. It seems logical, then, 

that a perfect being, or deity, would be the sole entity that could create a perfect world. Parable of 

the Sower recognizes that human imperfection and stresses that God is an ever-changing force, while 

Death Note explores the consequences of when a person tries to achieve godlike status to rule over a 

society and the disastrous consequences that follow for its protagonist. 

 Death Note follows Light Yagami: a genius, hard-working high school student who finds a 

black notebook referred to as the “Death Note.” It allows him to kill anyone he pleases by writing their 

name in it, and he forms a tenuous alliance with Ryuk—the shinigami, or “death god,” that dropped 

the notebook in the human world. Light starts using the Death Note to eliminate major criminals in



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the world in hopes that he will someday rid the world of everyone who he has judged to be evil and 

thereby become a god. His utopia stands on the idea that he is the sole person who can save the 

world. However, as the police start investigating and he matches wits against a brilliant detective, 

Light starts eliminating anyone who gets in his way, including innocent police officers. His plans for 

a perfect society seem to be precluded by those who are unwilling to accept change or recognize the 

overall good that Light is doing in the world, at least in his own mind. 

 Light’s inevitable death at the hands of police is not due to society’s ineptness at recognizing his 

perfect vision. Light’s utopia fails because it is founded on violence, selfishness, and pride. In contrast, 

the Earthseed settlement created at the end of Parable of the Sower is built on a sense of trust and 

community. Lauren Olamina, Butler’s protagonist, recognizes that utopia is formed not just by one 

person but through the efforts of many to create a better society. While Light relies on intimidation 

and violence to achieve his goal, Lauren and her friends care for one another and see each other as 

equals who are all trying to escape their own dystopias. Light only views others as puppets in his 

master plan, resulting in the deterioration of his mental state and the loss of focus on his noble, if 

misguided, efforts to rid the world of crime.

GOD AND UTOPIA'S IMPACT IN DEATH NOTE AND PARABLE OF THE SOWER
 Death Note, an anime series set in modern-day Japan and referencing Japanese gods of death 

like the shinigami, draws inspiration from other cultures and themes. In fact, Death Note explores 

concepts that date back to early Greek, Hellenistic, and Roman periods. In his article, “The Divine 

Human Being,” Helmut Koester explains that, in early Greek civilization, being godlike did not 

strictly adhere to a person being good. Rather, it was “reserved for those special individuals who, by 

their powerful and inspired deeds, had demonstrated that they were in fact more than just human” 

(Koester 244). This can be applied to Death Note from episode one, where Light discovers the Death 

Note and uses it to control death and eliminate criminals. Light is committing hundreds of murders, 

but his actions fit the Greek model for a divine person, as he is intelligent, powerful, and given power 

to control others’ deaths by the influence of a shinigami. He is fighting for a just cause, to create a 

better world, even if he is going about it through drastic means. 

 



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As he kills innocent police officers and detectives that try to catch him later in the series, though, 

the theme of divine imitation transfers into the Hellenistic and Roman periods of the concept of 

divinity, where Koester states that divinity became a tool for “shaping philosophical theory and 

religious propaganda” (244). Divinity was ascribed to those in positions of power, such as emperors 

and kings, and limited to men because women were unable to hold those same positions (244). This 

version of godhood becomes Light’s central aim. He wants to secure the power and glory of a divine 

being without considering the consequences of his actions to the innocents who stand in his way. 

The power of a god tempts Light, but he does not accept the responsibility that that power entails. It 

also feeds into his callous treatment of Misa Amane, who shows up in Episode Eleven and becomes 

Light’s partner in crime. He uses her as a pawn for his own gain and does not value her life above the 

criminals he kills.

 Death Note not only draws inspiration from older versions of Christianity but also modern 

tenants of it. Being godlike in modern Christianity refers primarily to enacting good deeds and, in 

some cases, martyrdom, according to Anders Petersen’s article, “Attaining Divine Perfection through 

Different Forms of Imitation,” but the idea of revering and worshipping a being that has ultimate 

control over life and death remains firm (13). This premise of reverence and worship is present in 

Death Note as well. Light hopes to achieve godlike reverence for himself, but his interactions with 

actual gods undermine this concept of showing the divine respect and reflect Light’s selfish nature. 

Episode One displays this when Light first encounters Ryuk and treats him as more of an accomplice 

or servant (albeit bribing Ryuk to do his bidding with apples can be construed as a metaphor for 

the forbidden fruit that the serpent tempted Adam and Eve with in the book of Genesis). Initially, 

Light shows some fear of Ryuk, but once he realizes Ryuk will not harm him, he grows confident 

and explains his master plan to rid the world of crime and become a god in the process. The flaw in 

this conversation is when Ryuk remarks that if Light murders all criminals, the only bad person left 

will be Light himself. Light disregards him, saying, “I have no idea what you’re talking about. I’m a 

hardworking honors student who’s considered to be one of Japan’s best and brightest” (“Rebirth” 

00:20:51-00:20:59). Light believes his academic prowess is enough to judge others for their sins. The 

thought does not cross his mind that intelligence is not enough to condemn people. Until this point in



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his life, Light has been a person of exemplary character and success; he has been praised for all 

his achievements. Since he has been put on such a high pedestal by peers, friends, and family, 

Light cannot fathom being wrong. This justification points to larger issues that prevent his utopia 

from coming to fruition, such as self-absorption, confidence, and hunger for power, which become 

dangerous factors as the series progresses. Light is not concerned with Ryuk’s observation about 

him being the sole bad person left once his work is finished, because he believes his hard work and 

intelligence justify his actions. His merits serve as a shield to deflect any dissenting opinions others 

have of his actions, and from this point, it becomes clear that Light is incapable of examining the flaws 

in himself that he is so shrewd at seeing in others.

 Lauren Olamina’s concept of the divine contrasts to Light’s idea of divinity and the traditional 

concept of God found in Christianity. While she was raised in a Baptist household, Lauren does not 

see God as an entity the way many people believe in a “big-cop-God or big-king-God” or the way 

that others think “God is…nature” (Butler 15). Her family and many of the townspeople believe God 

watches over them and that He will steer them through dark times. In essence, a supreme being 

polices their actions, executes justice, and controls the world around them. If the townspeople are 

faithful and virtuous, they will be safe from the evil outside their walled community. However, Lauren 

states, “Some say God is a spirit, a force, an ultimate reality. Ask seven people what all of that means 

and you’ll get seven different answers. So what is God?” (Butler 15). No one offers Lauren a clear 

definition of what God is; even people who have a similar concept of God have different thoughts or 

views on how God acts or what God specifically is. This creates a schism between her beliefs and those 

of the people around her.

 Since her world is subject to violence and poverty, the idea of God as a sentient being does not 

sit well with Lauren. She compares the sentient God that her father and others believe in to “a kind 

of big kid, playing with his toys. If he is, what difference does it make if 700 people get killed in a 

hurricane” (Butler 16). In Lauren’s mind, this God is not benevolent. He allows bad things to happen 

to good people, because humanity exists for his amusement. Any suffering people experience is not 

his concern. Lauren cannot comprehend a being that would allow evil to exist in the world or stand by 

and watch people destroy themselves and others. The discrepancy of views concerning God’s presence



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and the divine, coupled with the poor, dystopian world Lauren finds herself in, leads her to stray away 

from conventional beliefs of God. She concludes that God is not a sentient being or nature. Rather, 

“God is Change,” which is a concept that shapes humanity and that humanity can shape (Butler 17). 

God is neither responsible for hurting people nor for helping them. The poor state of Lauren’s world 

is humanity’s fault, and humanity must make amends for what it has done and help others. After 

her town is set ablaze, Lauren decides to change what displeases her in her world and spread her 

teachings without being dogmatic or treating the people who accompany her as servants or mindless 

pawns. She recognizes that they must all band together to survive.

LIGHT'S AND LAUREN'S PHILOSOPHIES
 Light and Lauren are also set apart in their reasoning behind creating a perfect society. Light 

is concerned with his own ego and power more than the well-being of those around him. He does not 

start with the intention of forming a functioning society. He wants to eliminate sin from the world. 

As early as Episode Two, internet cults start to worship him and his murders, thinking that a god 

is passing judgement on the wicked. He sees the world as a thing that he can shape to suit his own 

needs, rather than a home for other people as valuable in terms of life as himself. He allows himself 

to be enthralled in the persona that internet cults have created for him. Philip H. Jos points to the 

tendency of the frightened to look to a higher power, which is arguably what followers of Light do in 

Death Note. It makes sense to worship someone and be spared rather than fight and be killed. It also 

points to Light’s worshippers experiencing an “us versus them” mentality, where they are excited for 

the destruction of sinners and for a god to lead them. Light’s utopia hinges on this prejudice and fear 

with his followers, leading to an unsustainable belief system and shaky society.

 In contrast, Lauren’s utopia is focused on a better world and the importance of life. Jos 

explores the effects Earthseed has on society and how it provides a non-dogmatic structure and belief 

system (1). Jos mentions that “fear is a dominant shaper of human thought and behavior” and that 

“the core message of all great spiritual traditions is ‘Be not afraid’” (1). Lauren sees her Earthseed 

religion as a solution to a dying society, writing in her Earthseed journal that “when no influence is 

strong enough/ To unify people/ They divide” (Butler 103). The harsh environment Lauren and her



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friends are exposed to greets them with violence, death, and struggle. It is relentless and will not cease 

until someone decides to fight for a better world. Lauren wants her teachings to reach other people 

and for them to recognize that they can either unite and influence change or divide and be destroyed 

by it. 

 When comparing these two belief systems, though, Light exhibits an understanding of 

something akin to Lauren’s Earthseed religion in Parable of the Sower—that God is change. Lauren 

describes in her writings: “All that you touch,/ You Change./ All that you Change,/ Changes you./ 

The only lasting truth/ Is Change./ God/ Is Change” (Butler 79). In Lauren’s religion, God is not a 

static being. God is a dynamic concept, ever-changing in the universe and being altered by people 

daily, which both aligns and contrasts with the world of Death Note, regarding how Light changes 

his world and the presence of gods. Death gods like Ryuk may exist in Light’s world, but Light’s 

perception of deification is skewed. Once he discovers the Death Note, and Ryuk explains that it is 

Light’s to keep and use as he pleases, he realizes that the notebook is his ticket to godhood. It grants 

him control over life and death and puts him farther up on a pedestal away from normal people. Light 

recognizes that all the Death Note influences, all the evil lives it can take, can change the world for 

the better. However, if Light had thought about the concept of change and God as Lauren does, he 

may have stopped and realized that using the Death Note changes himself as well as the surrounding 

world. Each murder brings Light further from his once noble cause of ridding the world of evil and 

closer to becoming a monster consumed by power. Light’s behavior becomes predatory and he 

develops a twisted view on the concept of God and change instead of Lauren’s original philosophy of 

Earthseed, leading to his downfall later in the series, while Lauren succeeds in creating her Earthseed 

community.

 The other factor shaping Light’s philosophy and its ultimate failure is the influence of Ryuk. 

Despite how Light seems to dismiss and not revere Ryuk, Ryuk is still a god and an influencer. He is 

by Light’s side nearly all through the series, and when Light sees that Ryuk does not care who is killed 

or to what end Light is using the Death Note, it sends a message that Light’s actions are valid. The two 

characters also begin their tenuous friendship with Ryuk dropping the notebook in the human world 

because he “was bored,” and Light began using it because he “had been bored too” (“Rebirth” 00:16:57 



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-00:18:22). Compared to Lauren, who created the Earthseed religion to help others and understand 

a cruel world, Light did not have anything else to do with his time. Being a god was a pastime, 

something that could hold his interest when school and sports could not. This points to the larger 

issue that, while Light was trying to rid the world of evil, it did not fall strictly into his intent. Killing 

criminals became a byproduct of using a notebook that could give him godlike status. Ryuk’s own 

boredom and lack of purpose reinforces Light’s disinterest in others as well. In Episode Four, 

“Pursuit,” Ryuk says, “We [the shinigami] lead meaningless, empty lives... we no longer even 

know why we exist. In fact, I doubt there’s any reason for our existence at all” (“Pursuit” 00:05:22-

00:05:38). This quote not only reinforces the idea that the shinigami have no definitive, virtuous 

purpose, but that taking human life has no meaning. In the grand scheme, regardless of whether 

what they are doing is right or wrong, Ryuk thinks it is pointless, but they still have this immense and 

horrible power to kill others. If a god like Ryuk does not care who Light kills or how many die, why 

should Light have the slightest bit of guilt? Those around Light are pawns to fulfill his ego, rather than 

people to save.

THE INFLUENCE OF GIFTED INDIVIDUALS
 The impact of gifted individuals on society and what happens when society fails the gifted is 

also important when evaluating what creates utopia versus dystopia. Douglas W. Texter focuses on 

Lauren’s gift in Parable of the Sower and argues that gifted children can change society for the better 

by rising above the ordinary to achieve greatness. He relates this to Lauren and her belief system that 

is Earthseed, and how she and her group begin a new community amidst a rotting society. Lauren’s 

linguistic prowess and “ability to empathize with and organize others around a shared mission” allows 

her to create a better life for her and her friends (Texter 15). However, Texter also insists that gifted 

individuals who are cast out or ignored can become bored and narcissistic, which lead to problems 

later in society. Lauren is an individual who has positive gifts and traits: she shares pain and pleasure 

with those around her, and she is also smart. She takes it upon herself to create a new belief system in 

Earthseed and lead her friends and followers to a safer life. 

 Texter’s observations can also be applied to Death Note, in which Light is an example of gifts 



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that are not exercised properly. Light tells Ryuk he wants to become a god, to have people know of 

his existence,” and thinks he can create a better world. Light shows traits of narcissism and does 

not put confidence in anyone but himself. He thinks he is above everyone and should be the one to 

pass judgment on the wicked, while failing to acknowledge his own flaws. Light’s inflated sense of 

importance and disregard for others is arguably his greatest downfall, because it isolates him from 

family, friends, and his sense of right and wrong that he still clings to in the beginning before spiraling 

into madness at the end of the series.

 Light’s narcissism and Lauren’s selflessness contribute to the execution of their ideas, as 

well as their respective failures and successes. Jerry Phillips examines the reinvention of utopia and 

degeneration of American society in Parable of the Sower and Lauren’s success in creating a utopia 

at the end of the novel. Lauren’s view of God shapes her utopia, and Phillips insists, “In Lauren’s 

view, change or God has no necessary direction” (4). By believing that God is an ever-changing force 

without distinction between good and evil, Lauren can focus on the chaos and problems that have 

arisen in society and overcome them. She does not ascribe her misfortune to God hating her or her 

being deserving of awful things. Lauren believes that God only exists as change. She creates the 

conditions needed for a better society through her view of reality and Earthseed, where people help 

each other and do not focus so much on the exchange of goods and money to survive (Butler 22). 

This will result in a sense of community and goodwill towards others, prompting people to change for 

the better and strengthen their community. Lauren changes her environment through her teachings 

and actions. She protects the people in her group and considers them to be a makeshift family, even 

going so far as to share her view on God with them, which produces trust and camaraderie between 

Lauren and her group members. Conversely, Light works in solitude, outside occasional help from 

Ryuk and Misa. He does not share his views on morality and justice with other people outside one or 

two humans and relies on anonymous strangers to worship his god-like persona that circulates on the 

internet. In Light’s quest to become a god, he does not consider that he needs to change. He believes 

he is infallible, and everyone must bend to his will or face lethal consequences.

 Karen Slawner also examines the justification for violence to preserve order and justice, 

beginning with references to the death penalty in the United States of America and assessing the 



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moral problems associated with some acts of violence being legal while others are illegal. Slawner 

discusses the Final Solution’s results that attempted to create an Aryan utopia, where the Nazi party 

viewed genocide as a rational solution. They were concerned with defeating a common enemy and 

tried to eradicate the Jewish population in the most efficient way possible. Slawner asserts that law 

is often built upon the foundation of violence, where violence is used to preserve it, and it is through 

the condemnation of violence that justice can be achieved (460). In the context of Death Note, Light 

is also trying to achieve a utopia through violence. Most of his victims die of heart attacks, and 

Light kills thousands to wipe the Earth of crime. Although Slawner’s argument focuses primarily 

on governments executing violence, it can also be applied to the individual. Light kills those who 

contest his moral code or law under the pretense that he is the only person capable of cleansing the 

world of crime and violence. Slawner states that violence does not equal justice, arguing that “by 

deconstructing law and by revealing its foundation upon violence that we can move toward justice” 

(460). To her, violence for the sake of justice is not true justice, which contradicts Light’s rationale. 

His violence is only a means to grab power and instill fear. Light’s goal is to become a god in a perfect 

world, and madness precludes his sense of justice as the series progresses. However, examining 

Light’s endeavors from Slawner’s point of view provides insight into the inherent flaws in Light’s 

judgement. From her quote, it becomes clear that Light was doomed from the start and that true 

justice is not won through violence, especially at the hands of a single person.

 Not only does violence create dystopia, but there are social and economic problems that also 

prevent Light’s utopian vision from being a true utopia. Jim Miller delves into the causes of dystopia 

in Octavia Butler’s works, arguing that Parable of the Sower highlights cultural, economic, and 

environmental problems that contribute to the violence and dystopian elements in Butler’s futuristic 

version of America—issues that are not at all addressed by Light in Death Note. Miller explains that 

these problems are all interconnected and refers to the division of the rich and the poor in Butler’s 

novel. He states, “There is a constant low-level class warfare going on between the have-little and the 

have-nots. The walls protect Lauren’s neighborhood, but simultaneously make it a target for those 

who covet what little they have” (Miller 14). Lauren’s community, while poor, is still wealthier than 

others outside the community walls, up until the neighborhood is burned and pillaged for resources. 



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 It highlights the larger issue of people committing crimes to preserve themselves and their family 

members. Furthermore, people who are discriminated against because of their race cannot get into 

primarily white, gated communities. Then, they must settle for low-paying jobs on the outside or fight 

and kill to survive, perpetuating a cycle of destruction, while Lauren’s Earthseed community seeks to 

combat these issues through diversity and community. Lauren does not exclude the people she travels 

with based on their race or gender and recognizes that they all have done terrible deeds to preserve 

themselves and survive. She does not blame her friends for their actions.

 However, Light targets criminals without much remorse. Lauren knows that people outside 

communities must fight to survive; not all of them want to commit crimes for fun, like pyro addicts, 

and even she kills people to survive. Lauren tries to keep her and her companions safe on their 

journey and, as they bond, they become stronger and settle down to create a diverse, safe community. 

Death Note does not address issues of racism or class differences. This might be because the main 

setting is Japan and Light comes from a well-off, middle-class family, but it is nonetheless an 

important issue and contributes to the overarching reason why Light’s utopia fails. He wants to 

punish people because of their crimes, while not examining the reasons why these people commit 

crimes. Light’s morality is black and white, where those who steal or murder are always at fault. 

Without a grasp of complex issues like racism, class disparity, and environmental problems, Light 

is unable to consider that some criminals may not deserve to die. They might be stealing to feed 

themselves or trying to create a better life in a desperate way. Light’s worldview leaves no room for 

moral gray areas. There are those that are good, bad, or against him, and the latter two categories are 

punished accordingly. Light’s and Lauren’s approaches to their societal issues determine the failure 

and success of their utopias, where Light ignores them, and Lauren recognizes that crime is only a 

symptom of a larger issue.

CONCLUSION
 The promise of utopia in Death Note is one that is obscured and sabotaged from the moment 

that Light discovers the notebook. Although his intentions to create a pure world are noble, if 

misguided, they are precluded by his desire to reign as a god and feed his ego. Light’s inability to



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consider other factors that drive people to commit crimes, as well as Ryuk’s lack of guidance and 

his use of violence in the place of true justice, are all catalysts to his inevitable downfall. At the end 

of the series, in Episode Thirty-Seven, “New World,” Light is finally caught and discovered to be the 

killer that detectives have been searching for for the last few years. Light tries to talk his way out of it, 

laughing maniacally and insisting that, while he is Kira, he was the only person “who could create a 

new world” (“New World” 00:11:39-00:11:44). Despite the people he has killed, Light still clings to the 

notion that he is special—that he is the only person who could have ever gotten this far and created 

a world almost crime-free. He still does not see the negative impact, even when the lead detective, 

Near, tells him that he “has only confused himself with a god” (“New World” 00:12:05-00:12:07). Near 

does not toy with the idea of Light being right. He shows him what he truly is—a sick man trying to 

imitate a god. When Light attempts to use the Death Note one last time, he is shot and flees the scene, 

bleeding and dying. Ryuk watches him from afar before writing Light’s name in the Death Note. 

Light dies on the middle of a staircase in a warehouse alone, symbolizing that he was caught between 

the life of a normal person and ascending to become something greater. In another context, it could 

also mean that he dies in nothingness, as Ryuk mentions in Episode One that humans who use the 

notebook can neither go to heaven or hell" (“Rebirth” 00:15:05-00:15:11). He leaves behind a legacy of 

terror and a world gripped with fear at committing a single wrong deed, not a utopian paradise.

 In his quest to achieve a better world, Light became a monster far from a god. He strayed from 

justice, fighting for himself rather than the betterment of others. His quest to godhood removed him 

from what it meant to be human: to show compassion for those who are not perfect and to recognize 

his imperfections. A utopia founded on the premise of violence or the purging of those who do not 

fit a strict idea of “good” cannot exist, and those who try to be gods will ultimately fail. Lauren’s 

community in Parable of the Sower thrived because it was founded on the betterment of other people, 

not just Lauren herself. She saw those around her as equals and treated them as she wanted to be 

treated. Humanity is flawed, and it is only through recognizing those flaws and the societal pressures 

that push people to commit crimes that people can move towards a better version of themselves 

and their world. If those flaws are not recognized, and people do not learn to embrace each other as 

Lauren and her friends did, it leads to chaos and further strife. Light chose to see the world in rigid 



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constructs of good and evil, without evaluating his own judgement or each person based on their 

merits. He saw only their problems and dismissed their lives. Light might have evaded capture and 

caused terror for years, imposing his ideas of good and evil on people, but in the end, he died a cruel, 

heartless psychopath, akin to the criminals he killed. The world of Death Note is far better off without 

him trying to impose his own flawed will on others, while Lauren’s world in Parable of the Sower is 

better with her and others changing it without trying to be gods.



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WORKS CITED

Butler, Octavia E. Parable of the Sower. Grand Central Publishing, 1993.

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Miller, Jim. “Post-Apocalyptic Hoping: Octavia Butler’s Dystopian/Utopian Vision.” Science Fiction

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“New World.”Death Note, written by Toshiki Inoue, directed by. Tetsuro Araki. Nippon TV, 2006.

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 no. 2, 2012, pp. 408–429. JSTOR, www.jstor.org/stable/10.5325/utopianstudies. 23.2.0408.

Petersen, Anders Klostergaard. “Attaining Divine Perfection through Different Forms of Imitation.”

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“Pursuit.”Death Note, written by Toshiki Inoue, directed by. Tetsuro Araki. Nippon TV, 2006.

“Rebirth.”Death Note, written by Toshiki Inoue, directed by. Tetsuro Araki. Nippon TV, 2006.

Slawner, Karen. “Violence, Law, and Justice.” Alternatives: Global, Local, Political, vol. 20, no. 4,

 1995, pp. 459–478. JSTOR, www.jstor.org/stable/40644844.

Texter, Douglas W. “Of Gifted Children and Gated Communities: Paul Theroux's O-Zone and Octavia

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