White and Black... Fanart. Yeah. http://tribblenuu.deviantart.com/art/tekkonkinkreet-children-of-the-skies-294945949
The two orphans are set up as polar opposites of each other. To start with their names are Black and White. Black is the older, serious, unsympathetic, and bascially the darker one of the two. White on the other hand is playful, nice, empathetic, and the more likeable of the two. The two are definitely shown as opposite with the contrast in the visuals of their dream sequences even before the main conflict, with White's being bright and colourful, whereas Black's are dark with deep bellowing sounds. White and Black are even told how the are different by the old man they hang around, their street "Grandfather", who talks to Black as if he is an adult but White as if he is a toddler. Despite being opposites they obviously compliment and need each other. Obviously they fight together and seemingly work together with White distracting people, or rather fitting in, whilst Black pickpockets them. However, throughout the beginning it seems White is more dependent on Black. Black is the one that comes up with the fight plans. Black is the one that goes out at night for money. Black is seemingly protecting White from the harsh reality of the world outside his dreamland.
Black's darkness is manifest in the Minotaur. http://elliotalfredius.tumblr.com/post/21450702918/its-fan-art-friday-this-week-is-tekkon
The two are bascially shown as Yin and Yang, opposites that depend on each other. The symbol is placed on the back of Black's sweater (at the end) to constantly remind the view of this type of relationship. This Chinese symbol is used in numerous animes and pieces of media generally but I feel as though its use in Tekkon Kinkreet was really nice to see as it was used as the main plot twist it seems. I mean the fact that they are not twins (or even biological brothers) and how this allows for the abandonment of White by Black in the film is even an interesting plot development. But what is of real interest is how it is not until Black is with his inner conflict do we truly realise how White was really protecting Black. We get ideas of it in the film but we at the beginning we are made to believe Black is looking after White, protecting him from the reality outside his dream like world. White is described as remarkable by the old man because he is uncorrupted by Treasure Town and then Black says how he will continue to protect him. However, later on the old man tells Black how White is stronger than he assumes and he is weaker than he thinks. The old man even says that White is the one looking after Black. White also shows he is aware of his role in this when he says to Sawada how he has all the screws Black's heart needs. White also prays for Black. He is Black's spiritual guardian.
Black and White and yin-yang. http://ehri.deviantart.com/art/Tekkon-Kinkreet-Yin-and-Yang-277357685
Furthermore, Black only calms from his frenzy of killing when he dresses up a doll and fools himself into thinking it is White. When this doll is killed and White is "killed" for a second time Black truly loses it again becoming the Minotaur (I dont think the Minotaur is seperate from Black but an inner personality as it is set up this way by the other kids and by the fact they weld the same weapon). Ths relationship true when the inner conflict within Black is really a struggle between White and the Minotaur. In fact when Black initially abandons White after the hospital it could be seen as because (not that Black thinks White is necessarily dead) but that during White's sleep the Minotaur within Black was released. This is apparent when Black and the old man are talking about White and although Black cries about White's condition and weakness, he (the Minotaur part of him) also smiles knowing it now has the strength to be set free. It is thus shown and revealed how truly yin-yang this relationship is.
Again yin-yang fanart. http://lupo-negro.deviantart.com/art/Shiro-Kuro-304610947
Imagery (with things like two cats and the numerous crows vs a lone white dove) are strong in this movie. So this conflict within Black is all the more interesting when thought about inconjuction with the symbolism of flames that is present in the move. The first conversation of the movie presents the idea that people are like flames on a matchstick. Beautiful and caring from a distance but after too long they will show you their true colours and hurt or even kill you. This is of course played out (and then rejected) with the inner conflict of Black, who starts off quite nice to some degree, mainly towards White, but then takes a shift for the worse destroying all in his path. White, in killing the first assassin, also seems to body this idea. When pouring gasoline all over the first assassin he seemingly shows no concern for Black's safety. It is interesting that a flame is again shown to depict how cruel someone (White in this case) can be under their kind exterior.
Shiro with a flame. This is the black spot in his usually white half of the yin-yang thing. http://jakewyatt.deviantart.com/art/tekkonkinkreet-fanart-198254087
Anyway, I felt the end of the film was the truly rewarding bit as it really showed the twist in the yin-yang relationship and let it sink in fully. At the end of the film White and Black are at peace, on the beach (where they dreamed of being). White makes one last message from Earth to whoever (the audience I am guessing this time) However, now this childlike rambling about keeping the earth at peace, along with his other ones retroactively, are cleverly transformed. They are shown not only to portray the naiveity and innocent playfulness of White himself but also show his awareness of how he is keeping the monster, the minotaur I guess, locked up within Black. It is this change, not necessarily in the relationship itself between the two orphans, but how we view the relationship that is truly great to realise. love subtle endings like this. Like with Shutter Island where Leonardo Dicaprio's character knows he will get a lobotomy and is happy to do so. These subtle hints are great and although not necessary mind blowing, are very rewarding. It really makes you wonder how uncorrupted White really is. Or how out of tune with the world is he really.
Another great fanart about the yin-yang relationship. http://pandora-inthesky.deviantart.com/art/TEKKON-KINKREET-35K-Kiriban-90687041
Interestingly, in an interview (see link below), the director said he kept the name Tekkon Kinkreet for western audiences because the name Black and White (by which the manga is known) seemed to imply only contrast and this wasn't what the movie was about. The name however seemed to imply a mess, an intermingling perhaps. In other the relationship between the orphans isn't as black and white as it first appears, it is much more complex, truly a yin-yang relationship. It is this relationship that drives this film, makes the main conflict, and truly makes it an interesting watch because we don't realise how complex their relationship is until the very end.
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