That’s just the tip of the iceberg, really; it’s the best I can do to compress the premise of the story into a few simple sentences. But there’s far more to this story than just a smart, somewhat immature kid finding a magical killing book. In fact, if you haven’t been watching since the beginning, you probably will be completely lost. Actually, let me rephrase that: you WILL be completely lost, period. Death Note is not the sort of show that you can just jump into, which is a bad thing in this day and age of waning attention spans and increasingly one-shot storytelling. However, in Death Note’s defense, it probably would not have worked any other way.

Death Note has been a series defined by thoughtful interaction and well-written, if not sometimes corny, dialog. Action is rare, making way for drama and mystery, as Light Yagami and his pursuer L seek to stop one another, without even knowing who the other truly is. One would think that having the two meet face-to-face would ruin some of the suspense, but that is not the case at all. The excellent “cold war” between the two characters only intensifies as Light finds himself in an unlikely position; a member of the task force created for the sole purpose of stopping Kira. Plans within plans aplenty as the uncertain but crafty L attempts to force Light to reveal his hand. Death Note also stands as a great example of a story where the antagonists are actually the heroes of the story while the protagonist is the villain.

Speaking of the protagonist, Brad Swaile is one hell of a voice actor. He manages to encapsulate everything about Light, this clearly disturbed and disturbing character, from the veil of faux sincerity he puts up in front of his father, L, and other investigators, to his very chilling megalomaniacal cackle whenever he renews his murderous resolve. VIZ Media’s voice actors are pretty good overall, but Brad’s interpretation of Light stands out. And while we’re on the topic of presentation, that’s something Death Note does very well, from a delightfully mythical introduction filled with religious imagery and engaging music, to the general ambiance of the environments, to the facial expressions of the main players, Light and L. I wouldn’t call the animation the best quality stuff I’ve seen on television, but it is very well done nonetheless.

Death Note still has some hurdles to overcome, though. With the character L, it is as if the writers created a character that is “too smart” for them. I won’t go into specifics, but some careful listening and application of critical thinking will make apparent the holes in L’s supposedly superhuman logic, holes that simply, given L’s character, should not be there. Another questionable element is the introduction of another character with a Death Note. This “second Kira” may have been inevitable given the underlying supernatural element present in the show, but it feels like an attempt to inject depth into a plot that should, by all rights, have enough depth of its own merits. And why is it that we see very little of Kira’s impact outside of Japan, anyway? Governments the world over are sending agents to Japan to stop Kira… yet there are no glimpses into how the world outside of Japan has changed due to Light’s influence. It’s a puzzling omission, one that I would have preferred to see included over a “second Kira.”

Death Note remains an enticing series, though I truly hope it doesn’t become weighed down by its own complexity. That would be a real shame. However, it remains a solid show. I just hope it stays that way for its remainder.

Volume three of Death Note is available now.