There exists a kind of, not too much complicated, but a sheer, and unadulteratedly unique relationship between two persons. They are not friends or allies, not rivals or enemies, not the cliché of best friends turning into the most fierce foes, but the spiritual admirers and detractors, and none of them can leave each other’s presence. This duality of constructing characters in <Shiroi Kyoto> (White Tower, an NHK TV series) echos the complex characters and deep theme successfully.
Duality or Dualism is a concept pervading the majority of mainstream religions worldwide, including Paganism and Shamanism. Generally, Duality has been being considered a profound explanation of the reality of our world and cosmology by many ancient philosophers, with the idea that there are two opposite forces or principles since the very beginning of the creation.
It is worth noting that dualism is not merely the polytheism or bitheism, which suggests the existence of ubiquitous divines or two equal gods ruling the universal without conflict. Gods and goddess are living in any parallel spaces peacefully, and their authorizing domains are often ambiguous. In some dualism, there still exists one supreme being above all things, who created two opposite forces presenting good and evil, or from the initial moment of genesis, the benevolent one and malevolent one were created spontaneously, have been fighting each other since their inception.
As Chinese philosophies emphasized, “Tao” (the One) gave birth to Yin (moon or darkness) and Yang (sun or brightness), then they create all things. The perpetual confrontation between good and evil is the source of diversity and complexity of our world. In Zoroastrianism, Angra Mainyu (the evil god) is not simply a rival to Ahura Mazda (The good god), but rather serves as a meaningfully destructive power to balance or oppose the creative energy from Mazda.
As the secular mankind, we have to make a decision to choose which side of that dual energies we align with. That is the “Free Will” that Gods had given us to do good things through actions and deeds, or not. Once the decision has been made, paradise or hell will be determined by divine simultaneously.
Free Will, the most important idea of Catholics Church, also functions a significant role as the trade secret of scriptwriting, or the esoteric skill of narrative, I think.
Commonly, the scriptwriter or storyteller enjoy playing the role of a deity, manipulating characters they made to reach the final destination individually as either heroes or villains, following the trajectory determined before. It is the normal method, and whether it succeeds heavily relies on how the writers construct compelling details and flawless plots proficiently.
But “individually” means there is no interconnection between protagonist and antagonist, who are two mere poles of ethical balance, sharing nothing about love and hatred, mutual memories and experiences, and reciprocally moral conflict. That is why mediocre commercial films being “mediocre”.
What if Vincent Hanna in Michael Mann’s film <Heat> is just a good cop, trying to capture Neil McCauley-a bad guy, even looks convincing and charismatic, keeps integrity in morality and love-and fulfills his goal in the ending? Definitely, it is unimaginable and unacceptable. Thanks, Mr. Mann, we are always lucky because this masterpiece has been dragging us amazingly into a magical territory of duality between Vincent and Neil for every time watching.
In fact, those two major roles are the two sides of one thing: How to be a “good” man. For Vincent, he is restless for his job, diligent, intolerant of evil things, a sort of cynical. But these are not the full parts of being a good man. The rest of the qualities is given by Neil, who is passionate for his colleagues, genuine, decisive in every situation, a little pessimistic which makes him a bit of sad and sentimental, which seduces fatally to his lover.
All inadequate elements of each person can be completed by the other’s traits, which has been possessed already. This connection is not linked intermittently, but erected fundamentally in initiating the whole structure. From the perspective of religion, the theory of duality contributes a usefully narrative framework, in which two forces are intertwining mutually and feeding the energy of each other endlessly. One could not be alive without the existence of the other. However, our hero and villain are connected through the concept of duality and their shared destiny, which has been forged fatefully.
Kanzen Goro and Satomi are the major roles in great Japanese TV series <White Tower>. Their entanglement and intricate nexus provide a perfect example for how to portray a duality in writing for screens.
Here is a dialogue between Goro, an ambitious surgeon, and his lover Hanamori while they are watching a public medical representation by his rival (or friend), a therapeutic doctor Satomi.
Goro turns to be contemplating after having been staring Satomi for a long time, finally he stops reticence and says:
Goro: He seems not want to be famous, but he is not lazy. He simply devotes himself fully to his patients and medical career. Are there really people like this?
Hanamori: What do you think?
Goro: It must be a lie. I live for myself, everyone did this, isn’t it?
Hanamori: Yes.
Goro: it would be very troubled for me if what he said is not sincere.
The dialogue efficiently captures the character’s different perspectives and provides insight into their personalities and values. It also adds depth and complexity to the relationship between them, suggesting their rivalry, is not simply on professional domain, but also personal, with Goro feeling the big threaten to his world view by Satomi’s sincerity and dedication.
Indeed, it implies that Goro has been desiring to live like Satomi, with no guilty and burden that he didn’t bear actually for ages. Satomi is another existence in his inner world. He’s been trying to refuse to be it, but he’s been being tormented every hour in climbing the social ladder.
Furthermore, I could say he might be content with holding respect to Satomi. Nevertheless, Satomi is the last hope of our world. Goro feels safe knowing that this world is not as bleak as he's fearing, because Satomi is there, and always be there. That is the most valuable setting of story in the history of filmmaking.
Ultimately, the roles of protagonist and antagonist are not bestowed by writers forcefully, they have their “free will” that drives them to go through the entire storyline by their characters and intensive interactions. The truth is that the war between them scarcely depends on moral righteousness, that is very often implemented by amateurs. The real motivation is “choosing”, which determine every single proceeding for every character within the plot. The most substantial motive of eternal enmity covering rivalries is the difference of sides they are standing on.
Once you had created a character, they have not belonged to their creators any longer. They are empowered and really come to life in our fictional world, vigorously and independently.
