For the connoisseur, Number 20 is not just a pornographic film. It is a rain-soaked memory, a shimmering pool at dusk, and a fleeting glimpse of a prince who chose to evaporate into vapor. It remains, simply, the best of the Water Prince series.
To the uninitiated, the alphanumeric code "COAT – Number 20" might seem like just another SKU on a back-catalog shelf. But to collectors, historians of Japanese adult media, and fans of the golden era of GV, this title—colloquially known as WATER PRINCE —represents a perfect storm of beauty, atmosphere, and genre-defining aesthetics. Before we dive into the specifics of Number 20, we must understand the franchise that birthed it. COAT’s Water Prince series was a sub-label (or thematic spin-off) launched in the early to mid-2000s. Unlike the studio's grittier, more realistic "Babylon" series or the hyper-athletic "Power Grip" line, Water Prince had a distinct artistic thesis: water as a symbol of purity, fluidity, and eroticism . COAT - Number 20 WATER PRINCE
The series was renowned for featuring models who possessed what fans called sukebe-kawaii (dirty-cute) – an androgenous, boyish beauty that leaned into vulnerability rather than brute masculinity. The lighting was softer, the sets often involved pools, baths, rain, or ocean backdrops, and the scores were typically ambient or melancholic synth-pop. Water Prince was not just about sex; it was about mood. Released in the late 2000s (exact dating varies among private collectors, but it is widely placed in the 2007-2009 window), COAT – Number 20 WATER PRINCE arrived at a pivotal moment. The DVD market was peaking, digital downloads were nascent, and COAT was experimenting with higher budgets. For the connoisseur, Number 20 is not just