I recently saw on my MAL page that I had completed close to 100 Anime. TV Anime to be specific, or what MAL considers to be TV, as I have in fact watched many more titles up to that point. Anyway, I naturally decided to have a specific Anime be my 100th. I did so after I completed ‘Mob Psycho 100’ for the novelty of having an Anime with an OP titled 99 as my 99th Anime; I think maybe about two people were in on the joke. Anyway, after that I then watched the Anime I selected for my 100th; and you saw the title so you probably know what it was by now.
Yes, ‘Nadia: Secret of Blue Water’, the 1990 series that Hideaki Anno directed before he made ‘Evangelion’. Based on a concept for an Adaptation of Jules Verne’s ’20’000 Leagues under the Sea’ in the Mid 1970s by Hayao Miyazaki. Based on how old it is, meaning not many people have seen it, it may seem an odd pick for someone’s 100th. In fact, I conducted a Poll on Twitter in which out of nine voters, none of them had apparently even started let alone seen the series. But of course, my reasons for choosing to watch the series were largely based on ‘Evangelion’ being my favourite Anime and one which does hold a special place for me. And so I thought this predecessor to it seemed like the next logical step. Not to mention, the fact that it had the involvement of the man who many consider the greatest Anime director of all time at it’s conception, and the fact that from what I could tell on the outset it looked like an Adventure series with some philosophical elements and a lighthearted tone, the most easily digestible form of Anime for me personally, and yeah I’d say this seemed like something to pique my interest. And now that I have completed the series, allow me to share my thoughts.
Before we start, just one last point. I pondered whether or not I should bring up comparisons to ‘Evangelion’ or to try and judge the series based on it’s own merit. I ultimately decided on the former partly because that series is much more popular thus serving as an easy way to explain the series to those who haven’t seen it. And, as I found out through my viewing, has a lot more in common than I anticipated with this series. It is interesting to me that ‘Gunbuster’ is what is normally cited as the precursor to ‘Evangelion’ because while they may both be Mecha series with strong existential themes, ‘Nadia’, as we will see shares several plot points and character types with that series, as well as serving as a showcase for the directorial style that Anno would develop for the series. Finally, this will contain some Minor Spoilers for the series, but nothing particularly major, again for people who haven’t seen it. Now, let us begin.
The opening scene of ‘Nadia’ introduces us into the backdrop of late 19th Century Europe, a time of great technical innovation but also militaristic imperialism. This opening narration played over a series of picturesque still paintings portraying chaotic ship crashes serve to illustrate the time period, to foreshadow the mythos behind the series, and serves to introduce the viewer to just one of the themes of the series in the human spirit humanity’s strengths and weaknesses. After that, we get an Opening sequence which, let’s be real here, sounds and looks like a more energetic version of ‘A Cruel Angels Thesis’ with it’s fast editing and happy pop song played against seemingly symbolic visuals across a night sky to prep us for an exciting Adventure series.
That’s certainly what the first episode delivers, as we are taken to Paris during the World Fair through the eyes of Jean, a young boy with a passionate fascination with Science and Inventions going to meet his likeminded Uncle before he becomes infatuated with and meets a mysterious brown skinned girl with a pet Lion cub and a blue jewel on her chest. This is of course Nadia, the title character, and that blue jewel is the McGuffin of the series, the eponymous Blue Water, being sought after by a band of comical villains consisting of Grandis, a feisty but temperamental red head, Sanson, an arrogant thin man, and Hanson, a technical minded large man.
This concept of two children being pursued by villains, wandering off into the larger world, and becoming involved in a larger conspiracy is of course a remnant of Miyazaki’s involvement in the series, as elements of Miyazaki’s own ‘Castle in the Sky’ (one of his underrated masterpieces) permeate throughout the series. That and it’s lively nature aren’t the only commonality the series attains to Miyazaki as one of the things that stands out about the series from the outset is the impressive Animation quality of the first episode. Although certainly dated by modern standards (that was always inevitably going to happen) when compared to the animation quality of most other series at that time, it’s astonishing to look at how fluid the movements are; whether they be the perpetual motion of the rotational toys Jean holds while exploring the fair, the breakings of the planes in one scene as a display of how limited the technology of the period setting is, or the chase scene which takes place during the climax of the episode. This isn’t even to mention that many of the backgrounds in this episode look gorgeous, really making use of the Parisian setting of the episode.
This liveliness and excitement drawn from the Animation is also contrasted with several quieter moments of contemplation which allows the viewer time to breathe in between so that it doesn’t feel overpowering. These technical qualities combined with a likeable enough cast of characters dwelled from Nadia’s mysterious nature, Jean’s passion and determination, and the Grandis gang’s comical dynamic which informs the viewer of how they are clearly not going to be the main antagonists of the series, and each character’s not yet fully detailed motivation allowing for future episodes to explore them in more depth all helps this first episode to be a resounding success in introducing us to what looks set to be an energetic, world building steampunk adventure series delivered by one of the best studios in the industry.
Of course, as with most first episodes, which generally employ heavy amounts of Sakuga to lure the viewer in, the other episodes take a slight downtoll in the Animation department so as not to overspend the budget, which does result in the following episodes by contrast taking a slower pace. Still that isn’t a criticism at all, as the first four episodes do an effective job of exploring our established characters backgrounds in more detail while also taking them away from their current environments to move the plot forward at a gentle pace and introduce us to more characters.
Although I praised the first episode mostly for it’s technical prowess and excitement, it is actually in the following episodes where what makes ‘Nadia’ special and where the comparisons with ‘Evangelion’ begin. Jean and Nadia’s journey to escape the Grandis gang eventually leads them into the sea, where they discover a quest by the Navy to locate a supposed Sea Monster which they then learn is actually an advanced submarine. This is also where the element of the story being a loose adaptation of ’20’000 Leagues’ comes into play, as that submarine turns out to be the Nautilus, piloted by the stoic and serious Captain Nemo, we’ll talk more about him later, and his crew. Episode 4, which is mostly spent introducing us to the interior of the Nautilus through Anno’s signature silent and suspecting directorial style giving the viewer the distinct impression that something is watching them, the uncomfortable feeling that ‘Eva’ also had. It’s been a while since I watched ‘Gunbuster’ so my memory of it might be a bit fuzzy, but I do remember that series being a lot more direct than ‘Evangelion’ in terms of it’s visual storytelling. Although it did have moments of introspection, it didn’t pertain the same ominous feeling, which leads me to believe that it was during the making of ‘Nadia’ that Anno first developed that element of his direction.
This combined with the largely medical and decidedly non-steampunk imagery of the Nautilus’ interior which Jean himself notes seems alien to him is the first proper indication that this series is something more than what it initially appears, but episode 5 is the true confirmation of this when the two end up on an island which they soon learn is ruled by some sort of militaristic organisation white masks and KKK hoods. Yeah!
And then, they come across the dead bodies of a man, a woman, and a dog, with their child, Marie being the sole survivor. This is the point where ‘Nadia’ becomes a different series. People often talk about ‘Evangelion’ and ‘Madoka Magica’ in similar terms in how they seemingly both start out as conventionally upbeat for their genre, but there always did seem to be something about about ‘Eva’. Technically, ‘Madoka’ also held strong moments of foreshadowing, but it did still seem tonally conventional at the start. The revelation of ‘Nadia’s sudden painting-over of darkness was made much more effective by the fact that it started off as an energetic and lighthearted tribute to Classic Adventure Novels quickly becomes a study of the human condition.
I’ve been somewhat minimal in describing the main characters so far because I felt that this moment and how it is contextualised within their role as Adventure characters and as children were important, and that their role in the story only came to play at this point.
Jean Rocque Raltique, as mentioned before, is a 14 year old French boy with a love of science and invention, even able to invent miraculous inventions such as a flying machine and a water heater. This puts him at the centre of one of the themes of the series, technological advancement, the ultimate achievement of humanity which around the time of the series’ setting is regarded as a monumental point for technology. The character’s humanity is encapsulated by his immense passion for such technologies and scientific breakthroughs, as well as his pubescent liking towards the opposite sex, and his backstory. He lives with his authoritative aunt in a house near the coast due to the disappearance of his father who was in the Navy, causing him to grow up in a largely sheltered existence free from harm, much like the protagonists of many popular Adventure novels of the late 19th century. This all gives him a believable purpose to go along the adventure, having a backstory which is just mundane enough to cause him to seek adventure in search of Nadia’s homeland, and his father. I won’t go into where that plot point leads for spoilers.
Standing as the opposite to him is the title character Nadia. In contrast to Jean who holds an intense passion for the world around him which causes him to go on her journey, Nadia is largely cold and resilient in relation to the world around her. This stems from a deep rooted distrust towards adults and modern society in general as a result of her upbringing in the Circus, which the darker elements of are only explored in flashback during the midpoint of the series. Along with her cold and often temperamental nature, she also despises killing in all forms, no matter what justifications it has, whether they be killing animals to eat their meat (resulting in her having an extreme vegetarianism) or killing other humans in self defence, she has an often extremist view against the act of killing in itself, as well as a love of nature which she perceives as being more pure than the destruction caused to nature by human civilisation. This ideology often puts her into conflict with Jean and especially Captain Nemo who at one point kills an enemy in order to protect her, but she refuses to be thankful due to her view that all killing is wrong.
Whereas Jean exemplifies the more idealistic perceptions of childhood, Nadia exemplifies the stubbornness that can come about at this age, but both of them are distraught when their experience on the island shows to them that the world is dangerous, in Jean’s case it becomes shocking because he grew up sheltered from the darker realities of the world, in Nadia’s case because she had hoped to escape from the dangers and depressing parts of the world, in Marie’s case it is shocking because like Jean she grew up with little experience to this side of the world but with the added blow that it more greatly affects her because she has been newly orphaned, and in the audience’s case, it is shocking because both of these characters being so young and realistically so makes their confrontation with such a harsh situation all the more brutal.
This is where the main antagonist of the series named Gargoyle comes in, and his motivation is introduced with Biblical references to the tale of Sodom and Gamora. As an inhabitant of the dead Atlantean Empire, he wishes to destroy humanity using Nadia’s Blue Water jewel which holds the power to do so and reshape the earth in his image to restore the entire planet to it’s former glory. I won’t go into much detail on the story of the Atlantean Empire itself because, again spoilers, but this does bring to the forefront just one of many themes that are introduced in the series.
In fact, the story has many themes in case you couldn’t tell. In addition to the value of humanity, we also get a story of contrasts, whether they be the contrast between idealism and cynicism, the contrast between vegetarianism and carnivorism, the contrast between technology and nature, the contrast of childhood and adulthood, many of which are brought to the forefront by Nadia’s aforementioned conflict in ideologies with Captain Nemo.
This side of the story is where it being an extremely loose adaptation of Jules Verne’s ’20’000 Leagues Under the Sea’ becomes thematically relevant. Those of you familiar with the original character from the novel, or for the more cultured of you, his interpretation in Alan Moore’s ‘The League of Extraordinary Gentlemen’ will know that the character in his original form was an Indian prince who carried a deep seated hatred of British Imperialism and the direction of the world which caused him to escape into the oceans to build a Utopian life for the crew of the Nautilus. In this version, the backstory is the part which is radically altered, but for a lot of the Anime, the character isn’t all that dissimilar from his original version. The image of a stern and serious leader is projected by him onto his crewmates, but we also see glimpses of his regret over his past which he consolidates by performing on his Organ. His mysteriousness and utilitarian ideology make him one of the most fascinating characters in the series.
Speaking of, although the narrative presents many interesting themes to the table, Anno’s greatest strength as a creator has always been his focus on character. I’ve already gone over some of them, but the large cast of characters really helps to make the world that the series presents feel alive. This is best displayed when they are all united on board the Nautilus in episodes 9-22, the highpoint of the series for me. These episodes take place on board the Nautilus and the places it visits, with all of the main characters fully united. The formula adopted by the series at this point is a combination of Slice of Life elements to help bring to life the setting through the discussions of the characters and their activities aboard and outside the Nautilus ranging from comedic mishaps to serious discussions between them, and of occasional run-ins with the Neo-Atlanteans which raise the stakes of the series whenever they pop up.
It is in the unnerving direction and generally quiet, a capella sound design which coordinates attention squarely onto the dialogues of the characters as they info dump on the technologies and organic life that make up the world of the series, much like Verne’s novel, where the seeds of ‘Evangelion’ are planted. An underlying factor helped by both series’ character designer Yoshiyuki Sadamoto, the designer for many of Gainax’s best titles as well as those of Mamoru Hosoda’s filmography who has a slightly inconsistent if consistently excellent track record of drawing designs which look decidedly distinct from Anime in varying ways.
As the styles tend to shift according to the series, it is difficult for me to properly explain why Sadamoto’s character designs work when there’s technically no real absolute design choice for him. Comparing the fairly cartoonish designs of ‘Nadia’ for example with the more realistic and refined designs for ‘Evangelion’ seems to display only minor similarities in superficial details such as the shapes of their eyes and noses, made more difficult when compared to his Hosoda works which have less edginess in their eyes. That said, I think one thing which remains consistent in Sadamoto’s work, although not a grand observation, is the way in which his designs expertly match the designs for each of his characters. Take Grandis for example, a feisty and often assertive woman who succumbs to falling in love too easily is given fiery red hair (hey, does that sound familiar?) and is traditionally dressed at first in masculine clothing to reflect her tough attitude despite often leaving her accomplices to do her dirty work for her in which her natural feminine beauty is also allowed to be displayed, which is further displayed when she adopts more feminine, frilled clothing later on to try and attract the attention of Nemo.
Speaking of, Nemo is given a ruggedly handsome but also gruff and elderly appearance to emphasise the fact that he is tough, but also conceals a more fragile side to himself underneath that exterior. Perhaps the most fitting display of how character design plays into the narrative in this chapter of the story is in the design of Electra, who I haven’t really mentioned up until now due to her being one in a fairly large cast. She is the first mate of the Nautilus. Nemo’s right hand girl who often displays a more attentive attitude towards the two children than the captain himself, but like Grandis also harbours an obvious secret affection for the captain which is the source of frequent rivalry between the two. Her character is actually given perhaps the most reserved appearance in the series, often wearing heavy period clothing and a fashionable hair style, as well as often sporting glasses to both inform us of the fact that she is intelligent, and also that she has some hidden agenda.
From a personal enjoyment factor, this section of the series spoke very much to me because of how it synthesized the pre-established themes of nature vs. technology in a way which despite relying on exposition as a praxis, never felt overbearing. The frequent shots of the outside of the Nautilus from which Jean is often of awe toward how humans could create something so great, only to have that contrasted with the larger natural outside, underwater environments displayed in majesty towards the smaller submarine. These were often complemented by a well researched exploration of marine life to convey the incredible scope of nature and how earthly existence surrounds the characters.
We are handed some lovely bits of Sci-Fi worldbuilding such as the concept of known extinct animals still being alive in the deep sea. As someone who grew up watching the documentaries of Impossible Pictures including the ‘Walking with’ series and ‘Ocean Odyssey’, the fight against the Dunkleosteus felt oddly nostalgic to me due to the fact that I was familiar to this creature which I can imagine being somewhat obscure to most viewers. This and the Antarctica episode in which we are taken along the journey to see displays such as the origin of life served the purpose of releasing an inner child in me in my former love of prehistoric topics. This in the same series that had previously shocked me to my adult core due to it’s dark realisation of the futility of childhood.
Rather than consider these elements to be contradictory, I actually feel they both work well to convey the greater messages of the series of how children are flung into an extremely adult world.
But this section of the series still never loses track of the darker themes such as the concept of when it is ok to take another person’s life such as that aforementioned scene where Nemo rescues Nadia, an episode in which members of the crew are trapped inside a damaged section of the submarine and the characters debate whether or not they should risk their own lives trying to rescue them or leave them to die so they can advance their mission, or the conflict that arises in the excellent episode 22, in which the previous hints towards the past and what we learn of Atlantis come to the forefront as the Nautilus faces it’s biggest challenge yet from within. I won’t spoil this episode but I will say that it does reveal some of the darkest parts of Nemo’s ideology and how it comes into conflict with Electra, and delivers the strongest episode of the whole series.
The first 22 episodes of ‘Nadia’ were truly an exciting experience for me, laying out the groundwork which would serve to lead us toward ‘Evangelion’ while standing on it’s own as a fascinating journey into life and the human condition through the lens of a slow but methodical Adventure series. That isn’t to say it was perfect; there was the occasional comedic bit amongst the Slice of Life trivialities which did feel ultimately interruptive although I understand their purpose to balance the tone. Towards the end the fractures in the series’ animation which would lead to the infamous bankruptcy of the studio began to show. I also feel like the concept of Race wasn’t expanded upon. We get little tidbits of the main character’s race brought up in the naturally prejudiced environment that 19th century Europe would have provided, right from her and Jean’s first meeting where she assumes he’s only interested in her because of her skin colour. Adding to this is the prejudiced language of Jean’s Aunt in relation to her, and his commentary on the diversity of the crew of the Nautilus and how it strengthens their seemingly utopian existence. These are all things which could help to expand on the series’ commentary of humanity’s flaws since racism is one of humanity’s ultimate failing. Unfortunately, outside of these little moments, the theme is never expanded upon, leaving these moments to feel more odd than meaningful, and also leaving how accepting many of the white characters are towards Nadia and even her developing romance with Jean feeling somewhat confusing, considering that the series did acknowledge the existence of racism.
But leaving aside my personal political agenda to ruin Anime with race debates, the first 22 episodes of ‘Nadia’ were truly an enrapturing experience; combining harrowing Adventure narratives with philosophical questions which never felt overbearing, imbued with some dedications to scientific realism and world-building in regards to it’s mythos, it’s clearly a series which sought to appeal to a wide audience which is how I can feel comfortable endorsing it, and after that excellent episode I was ready to declare it one of my favourite Anime. That was, until the next episode.
Oh yes, now we have to get into where the series made it’s dramatic decline in quality which brought Gainax to near-bankruptcy. The infamous Island Arc, in which after being separated from the Nautilus, Nadia, Jean, Marie and King end up on a Desert Island where they spend the next few episodes. This portion of the series is generally reviled by those who’ve seen the series due to factors such as how the plot just sort of stops right there, with the villains and the main quest being all but forgotten. This as well as a significant drop in Animation quality leading to some glaring oversights and wasting of resources on seemingly unnecessary scenes which involved using clips from previous episodes. But perhaps the most disliked aspect of this Arc is the formula of it. The series from this point until episode 35 becomes a largely episodic series of skits which sees Nadia’s temperamental attitude reach it’s nadir, resulting in her character becoming unlikeable in several moments, taking her vegetarianism to a new extreme and having her get into a series of repetitive arguments with Jean which greatly irritates the viewer.
This portion of the series is so reviled that many will tell you to just skip it completely, maybe only watching the episode where they reunite with the Grandis Gang in the middle and then skipping to episode 35. This was certainly a warning I saw going into the series, and ultimately decided to ignore to both get the complete ‘Nadia’ experience and see what about these episodes was apparently so bad that even people who liked the last two episodes of ‘Evangelion’ couldn’t muster a defence for them. And I will say that these episodes aren’t entirely without redeeming qualities, specifically there are moments during this arc which serve to advance the romance between Nadia and Jean. These are where I would actually dispel the notion that they are completely “unnecessary”, as in between the end to the first half of the series and the climactic final few episodes, I can actually see the necessity for something similar at least to this Arc to help the audience breathe and delay the time for that big climax.
When it focuses exclusively on that aspect is where this portion of the series is at it’s strongest, creating an occasionally psychological and often sincere portrayal of the pubescent development of love between these two adolescents. Once again, highlighting Anno’s tendency for emphasis on human inflections to add dimension to the scenes, emphasising both their shyness and their agitation. These scenes are unfortunately cut too short to make way for some comic set-piece which always feels more jarring than welcome as it comes after that genuinely great series that I described before. Some may deride the apparent overuse of stories using light-hearted “fun” build-ups made to establish a scene for a more serious and in some cases darker scenarios, but the reason this specific plot formula is so heavily used throughout the medium of fiction is because it is a formula which has been tested and proven to work, as it generally succeeds in hooking in the intended audience so that they can be affected by the story in question. When the series so readily aims itself in for pantomime slapstick in this segment shortly after such a serious segment of the story with which it seemingly mocks as it only becomes apparent how haphazard the experience truly is, it only has the effect of causing the viewer to gradually lose interest and feel like their only obligation to still watch the series while it does nothing to interpolate any sense of enjoyment in them is to see it through to the end, or possibly because it’s an important segment of Anime history (the latter in my case). This isn’t to say that the series from that point onward should have been constant bleakness (nor would I tell a series what I think it Should do), but the comedy in this section of the series was overwrought to find any balance with the preceding seriousness, causing the two tones to becomes at conflicting odds with one another.
There is also technically a new character who is introduced in this Arc who some would argue serves no purpose in the grand scheme of things as he doesn’t really do much afterwards, but he is actually given a thematic purpose later on, so I won’t count that as a criticism. But this Arc was a disorienting experience in what had previously been a genuinely great series, where I found myself letting out a sigh of relief whenever any sort of plot development such as their reunion with the Grandis Gang and their inevitable leaving of the island. But after they finally left that Island, things did not improve as we then get treated to the Africa Arc, where any defence I can muster for the Island Arc is instantly vanquished as soon as Nadia is turned into a pining love-struck groupie for a character whose name I can’t be bothered to remember, a tribal member who is apparently able to make her forget about Jean in just two seconds. Added to that the continuing weak Animation, a plot about capturing a diamond which feels even more like filler than all the episodes of filler we experienced previously, and at the very least this Arc was short so I don’t have to dwell on it any further.
Episode 34, bridging the Africa Arc and the climax was undoubtedly the worst offender of this though. It’s technically a recap episode. Or perhaps more accurately a clip show episode which half consists of original material. That original material is too lacing is mostly just a plot about Jean writing a song for Nadia, oh yeah, this is also a Musical episode. One in which each member of the main cast gets their own song. The songs sound poorly improvised and irritating, mostly serving as character factfiles which don’t inform us of anything we didn’t already know about each of the characters. And the ultimate conclusion of that plot doesn’t lead to anything other than one of the worst Anime episodes I’ve ever watched, and a strenuous experiment in series’ self indulging.
But finally, in episode 35 just towards the end of the series, it finally gets good again! The whole tone quite quickly reverts back to the maturity of the earlier episodes, as Nadia is forced to confront herself and her past. And then, after that bit of ‘Eva’ like dread, the series instead turns into ‘Gurren Lagann’. Dispensing much of its angst to focus on fast paced plot progression by way of a complete makeover in In-Universe technologies to a more pristine and less steampunk aesthetic, and an epic climax which opts to dispense with silly logic and explanation. To give you a hint of how the climax goes, consider the fact that it’s a Gainax Sci-Fi series and, yeah that’s it!
This makeover is even accompanied, similar to ‘Gurren Lagann’, with a slight change in the visuals of the OP despite the song and most of the other visuals remaining the same. I don’t know how common this was in series from that era, but it does feel like something original and revolutionary when it is presented, using the OP as a complementary on the progression of the plot is something familiar to Anime, usually by means of completely replacing the OP while keeping them the same throughout their runtime, but this is an OP which only makes a minor change.
Also feeling revolutionary is the way that the series concludes, as not only does the plot come back and rushing quickly, but it almost seems to change the tone of the whole series to a more hopeful and upbeat one. This is done in a way which doesn’t conflict with the rest of the series, and while I question how appropriate it is as an ending, it does leave me feeling satisfied, especially after that aforementioned timewaster of two Arcs.
While I’m not sure if the rushed nature of these final episodes is the most satisfying ending that could come about for the series, it does neatly wrap it up. We also get an epilogue revealing where each of the characters went afterwards, which does unfortunately remind me that although themes were overseen throughout the series, we didn’t actually manage to get a lot of proper character development, particularly from Nadia who doesn’t really seem to change much throughout the whole series. Also, two characters have a particularly disturbing conclusion involving romanticised paedophilia (seriously WTF!!!!) but other than that it is a satisfying ending overall.
Conclusion; ‘Nadia: Secret of Blue Water’ is a great time capsule from the days of early Gainax, and an integral piece of Anime history as a project from one of the greatest Anime directors of all time which served as the precursor to his Magnum Opus. But ignoring its place in Anime history, the series still holds up well in some regards as a Steampunk Adventure series with speculative elements which allow the series to expand itself thematically beyond the usual fare of its genre at the time. And while it certainly isn’t perfect, what with the filler that comes later on and the apparent lack of character development by the end, the series is still worth watching in my book.
Incidentally, this Article took me much longer to write than I initially thought it would, which doesn’t really surprise me at this point, but I would also like to use the time it’s taken since I watched ‘Nadia’ to add some extra thoughts. More specifically, if you yourself find the more flawed elements of ‘Nadia’ to be a bit grating but still like some of its core concepts I would also like to recommend ‘Made in Abyss’. A series which tackles some of the same themes as ‘Nadia’ (innocent children thrown into a cruel and violent world of adulthood, the fragility of life etc.) and does so in a more competent and cohesive way which doesn’t end up getting bogged down by the sillier elements present in ‘Nadia’. Definitely check it out if you enjoy suffering.
Well, that’s all from me now.