The problem with supporting multiple init systems is that each
package that provides a daemon needs to support all of them.
I agree with you in theory. In this case SysV init has been
around for ages so SysV init scripts already exist for almost all
packages. Just don't remove those and there is very little
additional work required to maintain the SysV init scripts.
Yes, new packages will need to support both for a while, but
this is a tiny fraction of the work to create and maintain
a new service. It is a very small price to pay in order to
get some breathing room and a graceful transition period.
It will give people a chance to put down the torches and
pitchforks for a while. One of the biggest objections to
systemd was that it was being rammed down our throats whether
we wanted it or not, whether it was ready or not, etc.
Look at Pulse Audio. After a few painful years, it was
finally ready for non-beta use. Systemd should be given
a similar incubation period during which people can easily
choose to use it or not.
On a
more poetic note::
Before the creation of Arda (The World), Melkor was the most
powerful of the Ainur. Because of his unique station, he sought
to create wills in the manner of his own Creator, so he alone
would venture sometimes into the Void in search of the Flame
Imperishable, the Secret Fire, which would grant him this
ability. But he never found it, as it is with Eru only. He had
sought to fill the Void with sentient beings and was dissatisfied
with Eru's abandonment of it. Instead, in what he hoped would be
an expression of his own originality and creativity, he contended
with Eru (God) in the Music of the Ainur, introducing what he
perceived to be themes of his own.
Unlike his fellow Ainu Aule, Melkor was too proud to admit that
his creations were simply discoveries wholly made possible by,
and therefore "belonging" to, Eru. Instead, Melkor aspired to the
level of Eru, the true Creator of all possibilities.
During the Great Music of the Ainur, Melkor attempted to alter
the Music and introduced what he believed to be elements purely
of his own design. As part of these efforts, he drew many
weaker-willed Ainur to him, creating a counter to Eru's main
theme. Ironically, these attempts did not truly subvert the
Music, but only elaborated Eru's original intentions: the Music
of Eru took on depth and beauty precisely because of the strife
and sadness Melkor's disharmonies (and their rectification)
introduced.
Since the Great Music of the Ainur stood as template for all of
history and all of material creation in the Middle-earth cycle
(it was first sung before Time, and then the universe was made in
its image), there was an aspect of everything in Middle-earth
that came of Melkor's malign influence; everything had been
"corrupted". Tolkien elaborates on this in Morgoth's Ring,
drawing an analogy between the One Ring, into which Sauron
committed much of his power, and all of Arda -- "Morgoth's Ring"
-- which contains and is corrupted by the residue of Melkor's power
until the Remaking of the World.
