argentnoelle: purple tree (Default)
but not everything is miserable! I decided to rewatch the death note drama which i never finished, and got to episode 6 this time where it suddenly turned good after being kind of boring.... that was totally fun! i hope the rest of the series remains good, they did some fun twists and had a couple of great scenes in the last episode!

My long death note story is also finished, now I am working on editing it. i've edited part 1 and am in progress posting it, and have begun editing the first few chapters of part 2. then i got sick so... got stuck in the middle of a chapter with no ideas. but generally the editing is going pretty well and smoothly and fun. so that's great!!!

i really like hot cider in the autumn and we have been having so much of it with cinnamon and cloves and orange slices and it makes me feel happy!

with work i finished a book recently and it got published. not very much bought, but eh... :/ still! it's fun! the thing is supposedly you don't actually start making any money from books till you've got like 15 of them so I'm creeping toward that (i think I've got... five? but not all in the same genre so maybe it doesn't add up the same way idk) like getting. 3 dollars for a 20-dollar-priced book is so sad. i mean it's still cool but ahh. well, whatever...! stuff i am enjoying: my comic strip! i like doing it! it makes me happy!

future ideas: need to get back to doing taekwondo (sigh) because i pay by month because it's cheaper, but then it's so much easier to forget to do it and end up skipping the whole month for vaguely-defined reasons and blech... ALSO i have this graphic novel idea i want to make next year but we'll see...

p.s. i managed to finish the fic in time to post it on october 31 for L's birthday which was super awesome!!! :)
argentnoelle: purple tree (Default)
Naomi Misora, former special agent (recently resigned) wakes up in the Village. (A retelling of "Arrival" with Naomi starring as Number Six).

Arrival

Former secret agent Naomi Misora was lying dazedly in bed in her apartment, having just woken up. She was wearing dark leather pants and a matching leather jacket, but it would be a mistake to assume she customarily slept in this outfit. The last thing she remembered had been sticking a brochure for a peaceful island retreat on top of her briefcase, and then—oh. The world had started turning in the wrong direction. Smoke flowing through the keyhole.

She’d had two thoughts at that moment: the first was that she would wake up strapped to a chair in a very dim, dark room with serious men standing in the shadows and a light pointed at her face; the second was that she wouldn’t wake up at all. This… whatever this was? Rattled her, but she tried not to show it. She tried to convince herself for one weak moment that perhaps she’d somehow merely forgotten that she hadn’t found out a secret of such significance, that she hadn’t resigned, that she hadn’t ridden back to her apartment as fast as she could, knowing they were tailing her, still driven by a reckless desire to not make it easy for them, and had had a completely ordinary day which she finished by… collapsing into bed without changing, and falling into an apparently deep sleep.

But when she got up and looked out the window, Misora realized the world hadn’t stopped turning upside-down quite yet. The view showed a small town, perhaps a holiday resort, with vibrant green lawns. All empty and quiet in an early dawn light. The bottom of her stomach swooped, a sick tension filling her whole body.

At that point, Misora lost all rational thought. Her mind, which was filled with a blazing static of panic, left her body on autopilot. Fortunately, she had very good autopilot. She’d been a very good agent, before she resigned.

She got up and walked as quickly as she could through what was obviously not her apartment, no matter how much it looked like it, toward the outer door.

Read more... )
argentnoelle: Light and L sitting next to each other (light)

(read on ao3)

Light finished sewing the secret compartment into his wallet and showed Ryuk how he could slip the Death Note inside.

"You're pretty skilled with your hands," Ryuk said. "I bet you're pretty popular with the ladies."

Light smiled as he sat back in his chair. "Skill has nothing to do with it. It's your looks that count. I'm guessing you're not that popular, are you."

"Huh?" Ryuk said.

Light was pulling out his phone when Ryuk continued, "I guess this skin does look a little awkward to you humans. But you can't judge me on that, since it's not even what I really look like."

Light paused, flipped his phone closed, and looked over at Ryuk, who grinned at him meaningfully, his long, yellowed fangs glinting sharply inside his wide-stretched blue mouth.

"Don't tell me you're in some kind of human disguise," Light said with disbelieving condescension.

"Oh, but I am."

Light knew it would probably be better to leave it. If Ryuk was telling the truth, there was probably a good reason for why he was going to the trouble of wearing a disguise. And he looked just a little too excited for this to mean anything good for Light. On the other hand… "So what do you actually look like?" Light asked, unable to stifle his curiosity.

"Wanna see?" Ryuk said. "I can show you." He moved into a sitting position, folded on the side of Light's bed, his too-long limbs crunched in the small space. His long, skeletal hand hovered at his collar, and then he… un-zipped himself.

There was really no other word for it.

It was as though both sides of his flesh just pulled apart as he drew down his claw. Light caught a glimpse of white glimmers of fat, and the two sides fell as though there were no muscles and no skeletal system at all to support them. For a moment, that's what Light almost expected to see, frozen in horror: a glistening red thing like the mannequin in science class measuring the muscles, or the empty skeleton underneath, but neither appeared. Instead, the floppy skin just stayed open, from Ryuk's collar to where the bottom of his sternum should have been, and instead of ribs and a heart…

There was something under there.

A vast thing that Light saw as though he was looking through a telescope's lens. It went on and on in rotten patches: the bright blue and purple and green and grey colors of mold, folded up and crinkled like mountainous slopes. If he'd stepped forward, he felt certain he could easily step into it by accident, and then be lost. Along with it came a chill that reminded him of the morgue in the police station, where he had wandered into alone as a boy. It had that same emptiness to it, but there was a choking haze in the air and in his nose that seemed like dust—or spores… no, Light realized, as he saw it shifting, those endless mounds rippling into the distance, moving as though there were creatures scuttling underneath—no, it was sand. Sand made out of dead things, ground shells and bones from the bottom of long-dried oceans.

The vastness and the horror of it was too much to fit in the entire room, but Light thought later that if it had only been that maybe he wouldn't have screamed.

Because he was screaming. In terror, with every ounce of breath in his lungs, but even the sound of his screaming barely reached his ears, and even though a distant part of his mind told him to stop—he couldn't. To stop screaming, he would have to remember how to work his own jaw, how to breathe. But instead he seemed stuck, unable to do anything but look.

There was a thing reaching from the crumpled sand-mountains. It pierced its way through the skin-disguise as though it had been paper; a long rope—no, a cable—no, something more alive, or rather… dead… a mass of sinews or something like a bent arm, spiked at intervals like thorns on a stem with thick, obsidian darts. It drifted and coiled and moved as though floating in the air, like it weighed nothing, but it was thicker than Light's arm. And, even though at first Light seemed to see the whole length of it, the more he looked, the longer he realized it was. Somehow it all managed to coil around them without filling the entire room, though it seemed to fold the air itself into impossible origami shapes to manage it. And the end of this claw—spine—thing… sunk its way deep into the left side of Light's chest.

Through the skin.

Into the heart.

There was a sucker-type end, a round-ish blob of some type, and in a ring around the edges of it came needle-point nails. Teeth?

They sank down through Light's body so deep it should have drawn blood, but there was no blood. The skin around the sucker, though, was greyish and spongy, as though it was rotting away from the spot of penetration.

The rest of Light's body, except for one hand, looked ordinary. But the hand he used the most to write in the Death Note, his right, was rotted up to the elbow. He could still see the skin, but it was mottled with spots like mold, greyish patches and whitish patches, and it was sagging away from the bone which was visible in places. The fingers on that hand were sticky, tacky, dripping with a mass that smelled vaguely like blood, but moved like part of his own skin and hand, if his hand had turned into webs. And the slimy mess of it, that smaller cord, went over to the Death Note, until at the end of it it had turned into pages, and Light became sure in that moment that the pages and the cord and the rotting hand were all part of one thing.

Someone was pounding at his locked door. "Light?" his mother called. "Light, honey… what's going on? Light!"

"You'd better open that door," Ryuk said, "or your mother's gonna be worried." He zipped himself up, and all of it: the thing inside the skin, the cords, and the rottenness on Light's own body disappeared.

He was lying on the floor, his throat raw, curled into a ball.

And then he remembered how to stop screaming.

When Light unlocked the door and opened it, his mother thought he looked a little shaken, perhaps, but he managed a fairly convincing smile that seemed at odds with the bloodcurdling shrieks of terror that had sent her running up the stairs two steps at a time, sure that her only son was being murdered, or worse. Or worse. Sachiko didn't know what could be worse than that, but during the fragmented moment as she'd ran up the stairs she'd thought it to herself: that if she burst through that door and found someone carving up her son's body it would be a kinder fate. Something she could understand.

Of course, now, she couldn't believe such a weird, wild thought had come to her. And so she let it slip from her mind, and felt reassured that Light was in front of her and seemingly unharmed, and she didn't look too closely at his eyes, but only stepped forward and hugged him tightly.

After a moment, Light reached up and hugged her back.

"I'm okay, mom," he said shakily. "I was watching a scary movie. I guess it got to me more than I thought it would. I won't do that again."

"I'm just glad you're okay," Sachiko said. She stepped back then, and smiled at Light awkwardly, feeling silly. Only a scary movie, and surely her mind had been running away with her. Mothers! She laughed lightly, and was secretly glad that Sayu was at a friend's house. She felt that Light ought to need comforting, but he was standing easily in her presence, a little removed. Grown up, she always thought. He wasn't her little boy anymore. But these things happened.

Even still, perhaps she should sit with him awhile and talk. It had been so long since she'd gotten a chance to talk to him about what he was thinking and feeling, about anything but his schoolwork.

But the room was very chill and forbidding. In fact, something about it seemed to make her feel distinctly unnecessary, as though she were intruding; even though Light was still smiling at her.

The feeling of intrusion grew unbearable, and at last she stepped back over the threshold, and said something inane, taking refuge in the familiarity. "I can bring a snack up for you later if you want."

"That would be great. Thanks, mom," Light said. He closed the door.

And turned around to face Ryuk. The burning glare seemed to crackle through the air between them, and Ryuk felt a small moment of 'perhaps I shouldn't have done that' that he did not quite recognize as guilt, having never felt anything of the sort before.

But it was enough to make him sheepish.

"Ah, er," he said, scratching the back of his head, "I guess that's why we don't tend to open ourselves up to humans. There wasn't a rule about it, so I figured what was the harm… heh."

"Ryuk," Light said. He took a deep, composed breath, and Ryuk moved gingerly away from him, because Light looked like he was about to explode any second, and Ryuk was pretty proud of his self-preservation instincts. But with three more breaths, Light was finally able to say, with only a scathing edge to his voice, "what was that?"

"Me?" Ryuk said.

"I mean the, thing. The… part," Light said, gesturing between them, "that was stuck in my fucking heart!" He was shouting. He stopped, and breathed heavily in the silence, and Ryuk glanced longingly over at the basket of apples at Light's death, and decided it would probably be better to wait.

"I guess you'd call it a proboscis," Ryuk said.

"I'd call it a proboscis," Light echoed flatly. "Are you feeding off me?"

"Well," Ryuk said. "...Kinda?"

Light started to scowl, and Ryuk hastily clarified, "not in a weird way! Look, you know shinigami aren't allowed on Earth unless they're either about to kill someone, or they're possessing a human with a Death Note. Right? Ever wondered why that is? It's 'cause… the human world… it's the world of Life. If shinigami were to go down to the human world without doing either of those things, the world of Life would recognize us as a foreign body—something that shouldn't be in its system—and attack us. It wouldn't be pretty. But, if a human picks up a Death Note and becomes the owner of it, a shinigami can possess that human, and 'use' their lifespan to trick the world of Life into thinking we belong here. Basically," Ryuk finished, "as long as I possess you, the human world thinks I'm you, and I'm safe. The proboscis is pretty long, so I could go up to 14 kilometers away from you while still being attached."

"Like a parasite," Light said thoughtfully. The explanation seemed to have calmed him down. A new piece of information always piqued Light's curiosity enough to almost forget what he had been feeling before, Ryuk had quickly realized about his human. And, as long as Light found a way to justify it, he could get used to anything.

Other humans, explanation or no, would probably still be screaming in horror and trying to claw out their whole chest.

Light really was pretty impressive.

"Okay, that makes sense," Light finally said. "But what about the stuff connecting my hand and the Death Note?"

"Well, that's also about the bond," Ryuk said. "When you claimed ownership of the Death Note, you put a little part of the world of Death into yourself. And not just any part of the world of Death, but (because it was a Death Note I dropped) a little bit of me. That's why I can possess you in the first place, why your body doesn't reject me like the rest of the world of Life does."

Light took this information in with a mildly shocked and disgusted look on his face, and glanced over at the Death Note in perturbation. He wiped his right hand on his slacks, as though he could somehow get rid of the memory of that slime connecting it to him.

"I see," he said at last. "Ryuk… just for future reference?" he said with a sigh. "This falls under the heading of 'things you should have told me in advance.'"

(on ao3)

argentnoelle: Light and L sitting next to each other (light)
decided to crosspost some of my meta from ao3 (here)

The huge pdf these notes are from is worth reading if you're interested in specifics; I didn't copy over anything detailed about the crimes they solved by using criminal profiling. I also don't know when these articles were originally written.

Criminal Profiling articles in the FBI archives

The meta/notes below are taken from the first two scans out of seven (I may or may not ever get around to looking through the rest).

Criminal profiling is basically behavioral science for the purpose of solving crimes. It's useful for a number of things, not just solving murders, but also in dealing with hostage negotiations or dealing with threatening letters.

Letter Writing

Some methods used in dealing with threatening letters. Every word in message is assigned to threat dictionary, compared to words found in ordinary speech and writing, used to figure out stuff about whether same person wrote letters or not [think the questions about whether all the jack the ripper letters were all written by same dude; people think probably not] figure out the signature words of the offender [i.e. shinigami] > used to figure out stuff about background. [where person came from I assume, as far as dialects etc or education levels]. This would certainly have been used when dealing with Misa as the Second Kira.

General Observations from the PDF

Crimes with a clear motive are easier to profile. Kira would actually have been an easy one for L, as the clear focus only on criminals would lead to the obvious assumption that Kira had some sort of connection with law enforcement, only added to by the leak early on in the show, which was combined with his showing-off nature. Then, during surveillance when Light showed the exact same characteristics, no wonder he suspected him.

Profilers lots of times work from photographs & preliminary reports/evidence & don’t always visit crime scenes. L mentions how he usually works apart from the scene, and in Another Note/the BB Murder Case you see how he likes to use investigators on the ground as well as evidence sent to him. Stuff such as where body was, murder weapon, signs of struggle, etc / even when people try to pass of one kind of crime for another there are usually inconsistencies. Woman killed in home with no sign of struggle, had been drinking, supposed sexual murder but no physical evidence of that? Husband did it as crime of passion, washed off hammer in sink & tried to play it off.

Criminal profiling often leads to suggested interview techniques. L realized early on that Kira couldn’t resist showing off to look smart and to taunt the investigators, so created an interview process with the tennis game and then the pictures that would lead Light to do the same if he were Kira. Light, even knowing what L’s tactic was here, still fell for it.

Criminal profiling uses brainstorming, intuition, educated guesswork, and familiarity with a large number of cases. The profiler creates hypothetical formulations—that is, a concept that organizes and explains information from crime scene data & the profiler's knowledge of other crimes.

Useful Information for the Criminal Profiler

Complete synopsis of crime, description of crime scene, time of incident, weather conditions, political and social environment. Complete background information on victim. Domestic setting, employment, reputation, habits, fears, physical conditions, personality, criminal history, family relationships, hobbies, social conduct. Forensic information. Autopsy report with toxicology/serology results, autopsy photographs, photographs of cleansed wounds. Medical examiners findings, impressions of estimated time of death, cause, type of weapon, suspected sequence of delivery of wounds. Additional aerial photographs, 8x10 color photographs of crime scene, sketches showing distance, direction, and scale, maps of the area.

What can this tell the profiler?

This evidence can reveal level of risk of the victim, the degree of control exhibited by the offender, offender’s emotional state and criminal sophistication. [the being away from crime scene of Kira, on top of the targeting of criminals, would add to that whole hands off/judgment from above thing that lead to L suspecting he had a god complex] WHAT NOT TO HAVE. Stuff about possible suspects, as that may bias the profile/investigation.

This information must be organized into meaningful patterns.

Here's an image of the criminal profile generating process that's pretty interesting:

table about fbi profiling
 

Types of Murder

Homicides are classified by type and style. Single homicide = 1 victim/event. Double homicide = 2 victims, 1 event/location. Triple homicide = 3 victims/1 event/location. Above that, classified as mass murder.

Types of mass murder are classic and family. Classic is a person acting in one location or period of time. Mental issues lead to violent lashing out against people who may not have anything to do with his problems. Shootings where people open fire on bystanders is a classic mass murder.

Family is if more than three members of the perpetrator’s family is killed. If perpetrator takes his own life, it’s classified as a mass murder/suicide. Without suicide & with four or more victims, it’s called family killing.

There are also spree and serial multiple murders [not considered mass murders]. A spree murder is killing at two+ locations with no emotional cooling-off period in between, and considered all part of a same event, which can be long or short duration. A dude took a gun, started walking through the neighbourhood and killing people for 20 minutes. It’s classified as a spree, not mass murder, because he changed locations.

Serial murderers. That is 3 or more separate events with emotional cooling off between events. [I have a feeling that Light would have been considered a spree murderer for the first five days he had the death note. Evidence that it was a single event and he didn’t spend much time thinking about it: he filled so many pages, lost five pounds, wasn’t sleeping, and was still in a manic state when he first met Ryuk]. After that first week, he would be considered a serial murderer. This type premeditates his crimes, fantasizes about them, etc. We’ve got the bus-jacking incident and all the experiments he does; it’s very premeditated. The serial murderer, after cooling off from last victim, proceeds with plans. This cooling-off period can be days, weeks, or months. But there are also other differences between this type and other murder types.

Classic mass murderers and spree multiple murderers are not concerned with who their victims are. A serial murderer on the other hand, selects a type of victim, and thinks he will never be caught. The serial murderer controls the events. Serial murderers may commit spree murders too. For instance, if tracked by law enforcement/hunted down. The change comes about with lack of cooling-off period, and happens because murderer is feeling desperate. Light changed from a serial murder to a spree murderer when he killed the FBI agents going after him.

Possible Motives of Murders

It's important to figure out the primary intent of the murderer. Killing itself might not be the intent. The intent may be criminal enterprise, emotional, selfish, or cause-specific, or sexual. Criminal ones include where money is the object, contract murders, gang murders, competition, and political ones.

Emotional, selfish, or cause-specific include self-defense or compassion, mercy killings/life support disconnection; family disputes may lie behind family killings, paranoid reactions can lead to murder. Symbolic crimes or psychotic outbursts. Even assassinations. Religious, cult, and fanatic groups.  Sexual ones pretty self-explanatory.

Risk Factors and What it Says about the Murderer

Victim risk can lead to stuff about how murderer is choosing victims. [high risk = bus depots, isolated areas, etc, plus other things that would make victim an easier target].

Offender risk is how much risk the offender had of being caught, and can generate assumptions about how he works. For instance, a low-risk victim sought under high-risk circumstances leads to ideas that criminal may not feel he will be apprehended, stresses, needing excitement, maturity level.

Light changing the times he killed people in response to their information about Kira is adding to his risk level by taunting them, it shows he needs excitement and that his maturity level is low. Although L already knew this from the Lind L Tailor broadcast. This is why L felt confident in saying that if they stopped Kira from killing criminals by ceasing broadcasts, he would probably move onto regular people. He’s recognized that this is partially an adrenaline/power-play thing.

Misc.

Escalation. Look at sequence of facts to predict possible escalation of crimes. In the Kira case, L refuses to pressure media to stop giving out criminals' names and faces fearing that it would lead to an escalation of Kira's killings.

Time factors. Length of time needed to kill the victim [with the Lind L Tailor broadcast, L discovers this can happen in real time]

Location factors add to details about offender. L uses the Lind L Tailor broadcast to quickly narrow down where Kira is operating to the Kanto region.


The Crime Assessment Stage


Crime assessment stage. Reconstruct series of events, behavior of criminal and victim. Assessments made about classification of crime, organized/disorganized aspects, offender’s selection of victim, sequence of crime, strategies to control victim, staging (or not) of crime, motivation for crime, crime scene dynamics.

Organized vs Disorganized

Organized murderer plans out his crimes, chooses victims carefully, controls his victims, acts out violent fantasies, etc / disorganized is less planned, victims are more random & it may have less to do w fantasy than psychotic impulses. Knowing this can lead to knowing if crime was staged to look like a type of crime it wasn’t. If it’s staged in such a way that you can tell criminal had knowledge of police procedure that leads to knowing there is law enforcement background and that true motive/type of crime may be different than it appears. For instance, rape-murder disguised as extortion to throw law enforcement off his tracks.

Motivation easier to gather from an organized crime/planned out thing.

What to do next?

Create criminal profile, including how criminal will respond to different investigative efforts. Demographics, physical characteristics, habits, beliefs and values, pre-offence behaviors, plus recommendations for interviews/apprehension. Then, suspects are evaluated. Then, get suspect to confess.

The crime scene [what’s there] can show if criminal brought anything, that is, if it was planned or not. This can be different than death scene place. Weapons of opportunity imply that crime was not premeditated.

Task forces are assembled to deal with specific crimes.

If well publicized and offender knows police will get to him [since in the a case referenced in the PDF it means he’d lived or worked in same building] profilers concluded he would probably inject himself into investigation, appear helpful, but actually be seeking information. [Light’s cooperation with the investigation actually a mark against him once it has been narrowed down to someone associated with the task force].

There is no need for the confession if you get the physical evidence [in the case in the PDF, teeth impressions matched. Or, in Kira case, Misa and the DNA matches on the envelopes. The confession L wants to get from her is not to prove that she is the Second Kira—that is already proven—but to find out her method and to try to prove that Light was also Kira.]

At time this was written, they were starting databases about crime types based on interviews with incarcerated felons of different types. [They would certainly start a Kira database where they kept patterns of his kills/times/types/anything they could get about it.]

Observations about Personality Disorders and the DSM (direct quote)

“There are many types of ‘normal’ and ‘abnormal’ behavior. Many of these behaviors may have a label attached to them by behavioral scientists. It is most important to bear in mind that such a label is merely an abbreviated way to describe a behavior pattern. It is nothing more than a convenience by which professionals communicate. The important aspect is the specific characteristics or symptoms of each person. The symptoms are revealed in the way the individual ‘acts out’ and in the responses which the individual may make to the professional. The labels may differ from doctor to doctor because they are simply each doctor’s interpretations of the symptom.

"A symptom, then, is the ‘visible evidence of a disease or disturbance,’ and a crime, particularly a bizarre crime, is as much a symptom as any other type of acting out by an individual. A crime may reflect the personality characteristics of the perpetrator in much the same fashion as the way we keep and decorate our homes reflects something about our personality.”

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