Tekkonkinkreet

Tekkonkinkreet is written and illustrated by Taiyō Matsumoto. It was originally serialized from 1993 to 1994 in Shogakukan's Big Comic Spirits.[7] Shogakukan compiled its chapters into three tankōbon volumes, released from February 7, 1994 to May 30, 1994.[8][9] Shogakukan republished the series in a single volume on December 15, 2006.[10]

In North America, the series was re-named Black & White, and start publishing in the first issue of Viz Media's Pulp in December 1997, along with Strain, Dance till Tomorrow and Banana Fish. The manga completed 2 thirds of its run in the magazine, and in September 1999, it was replaced by Bakune Young.[11] Viz Media published the three volumes from March 8, 1999 to November 30, 2000.[12][13] In 2007, Viz Media released the series into a single volume, with the title Tekkonkinkreet: Black & White, on September 25, 2007.[14]

A CG-animated pilot film was released in 1999.[17] The film was directed by Kōji Morimoto and had character models designed by Naoko Sugita. Hiroaki Takeuchi was the producer, Lee Fulton was the animation supervisor, and the 2006 feature-length film's director, Michael Arias, served as CG director. The entire 4-minute short was completed with a staff of 12 people.[18]

All three manga issues were adapted into a 2006 feature-length anime film of the same name, directed by Michael Arias and animated by Studio 4°C.[19] The film Tekkonkinkreet premiered in Japan on December 23, 2006.[20] The city featured in Tekkonkinkreet was deemed as "the central character of the film" and the city's design was inspired by the cityscapes of Tokyo, Japan, Hong Kong, Shanghai, China and Colombo, Sri Lanka to give a pan-Asian feel to the city.[21] The English electronic music duo Plaid composed the music.[22] Asian Kung-Fu Generation performed the theme song for the film "Aru Machi no Gunjō".[23]

The film featured the following cast:

* - Minor Role

** - Not credited on the DVD

Tekkonkinkreet has been generally well received by critics, for its story and particularly for Matsumoto's artwork and style. Jason Henderson of Mania.com, reviewed the third volume of the manga. He noted Matsumoto's influence by French comics and writing, and how he was able to create a "truly remarkable story that mixes Japanese sensibility with a European look and pace".[24] Matthew J. Brady of Manga Life, gave the series an "A" grade. Brady praised the series for its unique and expressive artwork, stating that it is more like something seen in independent American or European comics than in standard manga, also comparing his style to Western artists Brandon Graham, Corey Lewis and Bryan Lee O'Malley. He also wrote that the relationship and character of the main protagonists is very believable, despite their superhuman acrobatic and fighting abilities. Brady concluded: "It's a rich book that you can pore over absorbing at all the content".[25] Shaenon K. Garrity wrote: "Tekkon Kinkreet is one of the most visually stunning comics I know. Matsumoto can draw the hell out of anything, and the warped, kinetic, graffiti-influenced style he uses here is perfect for the loopy action-packed story". Garrity added that it also got a strong story, and the two central characters are "surprisingly lovable and touching", and that their "odd, clumsily affectionate, ultimately powerful relationship" is the core of the manga.[26] Scott Campbell of activeAnime, said that the manga is "one of those books that everyone will get a slightly different feeling from, and a different idea of what the point of it all was". About the art style, he wrote that it does not fit anything exactly, and "it gives a feel of grunge, cyber-punk, and our confusion over the separation of ourselves from nature – or whether a cityscape could now be described as nature to humankind". Campbell concluded: "It’s masterful at what it does in both telling a compelling story and being so visually unique. A mature work worth giving a chance to entertain you".[27] Sandra Scholes, of the same website, wrote that the art is "rough and rugged, much like the character's personalities", but that "there is room for fun in this huge epic novel of life in neo-punk Japan, its sprawling place, urban people and slightly dodgy nightlife", making it a "one off masterpiece".[28] Joseph Luster of Otaku USA, felt that the brotherly bond between the protective Black and the endearing White was the heart of the manga. Regarding Matsumoto's artwork, he wrote that it could be "an acquired taste for some, but I also doubt anyone that gets into it will ever want to let it go". Luster concluded: "Tekkonkinkreet is a mighty achievement that should be inspirational to artists and just plain absorbing to anyone else."[29] Deb Aoki of About.com, gave the series 4.5 out of 5 stars. Aoki was less enthusiastic about Matsumoto's artwork, and wrote that his dreamlike vision of a Japanese city "chaotically" defies the laws of perspective, and it is like "Las Vegas on acid". Nonetheless, she affirmed that the main appeal of the series is its story and "how it touches the heart"; "two orphans become symbols of a struggle between opposing opposites: innocence and corruption, hope and cynicism, imagination versus reality".[2]

Kai-Ming Cha of Publishers Weekly, ranked Tekkon Kinkreet: Black and White first on the "Top 10 Manga for 2007".[1]

The film holds a 74% rating on review aggregator website Rotten Tomatoes based on 19 reviews, and an average score of 65 on Metacritic based on 9 critics.[30][31]

Chris Beveridge, writing in Mania, declared: "While it may not be what anime fans have come to expect for a traditional film, the end result is something that while predictable is surprisingly engaging."[32] Chris Johnston of Newtype USA wrote: "Regardless of how much you watch this one, though, this is a film that no serious anime fan should miss".[33]