Aside from Haikyuu and One Piece, Nana was the most recommended Anime I have watched. It was mainly recommended in fashion discourse in the TikTok fashion sphere and on YouTube for its spin on street style, punk, 90s fashion, and accessorizing with elaborate detail.

These fans praise creator Ai Yazawa’s Nana for its Vivienne Westwood references and innovative looks. As I expected, the fashion was inspiring. It captures the 90s and early 2000s Japanese fashion in a way that makes my heart warm because that’s how I first got into fashion—watching ANTM’s Cycle 3 and their finale trip to Tokyo. But there was one hiccup—I can’t get into the story.

Nana is a Work of Art

Now before Nana stans click out, I can explain why I am not a fan but can appreciate the artistic duality of the storytelling, while critiquing the worldview of the narrative.

I’ve previously mentioned that I’m not an anime fan, that I had watched Fruits Basket and some Trigun and it was enjoyable but did not grip me the same way a Kdrama can. Since then I have started watching Haikyuu and fell in love with the anime style and its storytelling in Haikyuu’s seasons. Going into Nana, I was excited to watch a new anime style. The artwork is different, older, and grittier like a film noir.

The storytelling was unique, and non-linear at the beginning, and featured two storylines of Nana O. and Nana K, a duality that Ai Yazawa put a lot of thought into. Her passion is clear from the art style, the complicated characters, and the darkness of human life that she explores. I appreciate the inner monologues of the characters, and the way that they feel real because they are flawed, and downright annoying sometimes, but I couldn’t find myself rooting for any character and walked away from the series after two attempts to watch through.

Struggles with the Story

Misogyny and the age of consent, are two things I was not expecting to be major storylines in this tale but there it was. It was hard to watch the disrespect and absolutely dangerous decision-making of Nana K in 2024 as an American with some of the headlines we have had of assault on college campuses and by powerful people in the culture. Me Too changed things and made this normality of the 1990s and 2000s a thing that was no longer going to be passively tolerated. For that, I am thankful to be living on this side of the 2010s and its cultural upheaval because when I encounter stories where the female characters are not being respected and accepting this toxic masculinity and normal, as the viewer it is outrageous.

My standard is now the ladies of Brooklyn Nine-Nine who demand respect and get it because the male characters on the squad are respectful. The characters of Gina Linetti, Rosa Diaz, and Amy Santiago have ambition, and desire love, but understand they are enough and don’t need guys to make them whole. I didn’t see that in my watch of the Nana show. They also support each other with maturity, and Nana K is simply not mature and despite Nana O’s heart, it can’t make up for the deficit, in my opinion. I know that their friendship is hailed for its feminism but I think the best friendships in storytelling have two mature people who have grown and developed into characters that have depth and true, selfless love for each other.

This show felt triggering for its realistic depiction of toxic relationships in both friendships and romantic relationships, which dug up memories from my teens and twenties of feeling lonely by the cloud of darkness bad relationships held me in. Like Skins UK, I could feel the pain, the emptiness, and the struggle in my veins by how emotionally charged the story is. But as Effie can send me into a depressed spiral, I felt the same from Nana. Art should make you feel, but not harm efforts to have good mental health, so as I made the decision to stop to protect my peace, I encourage you to have healthy boundaries with shows that can trigger you, dear reader. It doesn’t mean you are a wimp or that the show is bad, just that it isn’t a good fit for you because it is damaging your calm, to quote Jayne Cobb, from Firefly.

Girlhood, Dark Romance, and the Pick Me Girl

Something that may be holding me back from embracing Nana could be my culture and similar western media I have already grown up with which taught me the same lessons through their stories. As I mentioned before I see many parallels between Skins UK and Nana. They are both edgy, the characters are working through their own pain and finding their own solutions like by dulling the pain with alcohol or love. There is the female friendship in Nana like Meredith and Cristina in Grey’s Anatomy and the toxic relationships in Gossip Girl with the complicated friendship of Blair and Serena.

I found Grey’s Anatomy and Gossip Girl during the end of high school and watched both into college, a time that is full of turbulence. Something that Nana nailed, and I think if I had found Nana first it maybe the coming of age guidebook for me that Grey’s Anatomy and Gossip Girl were during those weird years. I think that both Gossip Girl and Grey’s Anatomy have more character arcs for their female protagonists than Nana, with Serena Van Der Woodsen being the only one I’d say didn’t grow much at all. Blair, Meredith, and Cristina all show tremendous growth by the end of their stories. (Yes, I know Grey’s Anatomy carries on but Sandra Oh left the show in 2014 and I personally stopped watching in 2019 so Grey’s has an end to me.)

Meredith Grey grows from a pick-me girl who lets her romantic relationships determine her fate with self-destructive bend to a healthy, open, confident woman who has family that support her emotionally and professionally at Seattle Grace. Cristina Yang realizes she needs people, that life is not about being an island. She balances her professional ambition with a new compassionate bedside manner and learns how to be vulnerable while being an incredibly strong person.

Blair Waldorf begins the show as a girl who is scheming, afraid to be herself, and afraid to fail and ends the show as a confident woman who knows what she wants and is willing to stand up for herself, support others, and create community in her world instead of tearing others down to make herself feel better. She may love Chuck Bass, but she is willing to walk away from him when he treats her as less than human. I wanted to see this from Nana, and I didn’t.

What I did see was a similar dark romance trope that permeates Twilight, toxic relationships that are abusive, not romantic, and not something women need to endure for love. A good cultural discussion that came out of the It Ends With Us press tour was producer, Justin Baldoni’s commitment to the message of abuse and making sure no interview was complete without raising awareness for an evil that persists in our world. It was in stark contrast to Blake Lively’s cheeky glamorization of this movie, refusing to go there and talk about the serious issues.

That’s what I wanted from Nana, there to be some force that would stop the mistreatment of these women and bring some hope to the story for these women to truly thrive.