Another method was for a person to be "sponsored" by a citizen of another nation, and while this allowed them to live and work in that country, they also had to abide by certain strict "rules". Like any system it was open to abuse, but many people were also granted a better start in life than they would have had in their homeland. The biggest difference between this method and emigration though, was the perception of the native populace. Many of those who were sponsored didn't live as part of an existing ethnic community, and because of this they were often tolerated as novelties rather than a threat.
Okay, that's a bit of a heavy beginning for a light-hearted slice of life anime, but a bit of context may help with certain aspects of Ikoku Meiro no Croisée.
Based on the manga by Takeda Hinata, the story follows the lives of Claude Claudel - an ironmonger living and working in Paris, and Yune - a young Japanese girl who has been sponsored by Claude's grandfather, Oscar, to come and live with them for a time. Unfortunately they have very little understanding of each other's cultures or histories, so every day is an opportunity to learn something new ...
Now many people will immediately pass this series off as nothing more than inane, lighthearted fluff with no real story, and in all honesty that's a pretty fair assessment. The episodic plot is rather straightforward and progresses in the relaxed manner that is so common in slice-of-life shows. In addition to this, there's an element of whimsy to the narrative that can make it difficult to take certain events seriously, and the whole show can often seem like it's trying very hard decide what it should be.
That said, there is a charm to proceedings that comes from a cast of surprisingly earnest characters, and there are flashes of a much deeper story hidden within the sugar-coated exterior. Unfortunately these undertones are rarely allowed to surface, but when they do, the series gains an intensity that can sometimes be at odds with the relaxed atmosphere, and it can often seem as though there is a purposeful avoidance of certain topics.
As far as appearances go, there's a nice uniformity to the predominantly European design, and everything from the buildings to the clothing are reflective of the period. Unfortunately there's also one glaring irregularity that may have been purposeful, but seems rather unnecessary, and that is Yune. The major problem is that she has been designed to be petite and tooth-achingly cute, and it's because of her looks that people automatically assume that the series is nothing more than a big ball of moe fluff. It's probable that this was an attempt to highlight just how different she looks to everyone around her, but there's an element of tastelessness to it - even though it does fit the 19th Century European vision of a typical girl/woman from the Far East.
That said, the characters are surprisingly expressive, both facially and in their behaviour, and the show makes good use of this factor. In addition to this the animation is pretty decent throughout, but it's also rather placid, which is why the art style sometimes changes for events that are meant to be charmingly amusing. In a very real sense it's a visual form of the much hated "canned laughter", and while it's supposed to "encourage" viewers to chuckle, thankfully it's not used enough for it to become anything more than a diversion.
Ikoku Meiro no Croisée has a rather interesting set of characters that can sometimes play very well off each other, but because this is a slice-of-life tale the focus is less on developing them as individuals, and more on nurturing their bonds with the people around them. Now it may seem like splitting hairs, but it's actually a rather important distinction as this type of growth rarely occurs in other genres. Although the series isn't on the same level as Aria in this department, it does manage to hold its own for the majority of the show, and Yune's earnest habits and mannerisms may cause some viewers to make comparisons between her and Mizunashi Akari or Binchou-tan.
Now while there's a lack of obvious development, there are attempts to add definition to the characters and explain why they think and behave the way they do. Although the reasons are often retrospective, they're also logical and fit into the class system of the period, but viewers may sometimes find themselves frustrated by the fact that they ultimately don't lead anywhere.
Because this is a "Stranger in a Strange Land" type of story, the script takes a simpler, more explanatory approach than normal. Surprisingly, this seems to have allowed the voice actors more freedom rather than restricting them, and much of the dialogue is delivered with the kind of warmth and sensitivity one would expect from a slice-of-life show. Touyama Nao manages to capture Yune's shy earnestness rather well, and her performance is balanced by Kondo Takashi's seriousness as Claude, and Yuuki Aoi's rather madcap portrayal of the show's resident Japanophile - Alice Blanche.
The opening theme, "Sekai wa Odoru yo, Kimi to" by Youmou to Ohana, is a rather cheerful song with a continental flavour that fits very well with the accompanying animation showing Yune, Claude and Oscar on a day out in Paris. Strangely, the ending sequence features Yune waking up on a bed in the middle of a forested park (how this fits into the show is anybody's guess), while Touyama Nao sings "Koko Kara Hajimaru Monogatari", a slightly melancholy ballad that doesn't quite fit her breathy, high-pitched voice. There are also two additional closing songs, "Tooku Kimi e" by Nakajima Megumi and Touyama Nao, and "Tomorrow's Smile" by A.m.u.. Both are very similar to the main ending theme in terms of emotion, but neither has a dedicated animated sequence, instead using the episode itself to give context to the track.
The background music ranges from sombre to the more common lighthearted pieces, but there's a surprising subtlety to it that may not be obvious at first. As the series progresses, it gradually becomes apparent that different primary instruments (violins, pianos, harps, clarinets, etc), have been used throughout in order to add dimension to particular scenes, and enhance the overall tone of the anime.
Although the series does have its problems, Ikoku Meiro no Croisée also retains a fair amount of entertainment value. Much of this comes from the relationship between Yune, Claude and Oscar, but one can't deny that some of Alice's ideas about Japanese clothes and objects can be worth a chuckle. The series maintains a lighthearted atmosphere for the majority of the story, and although there is a banality about particular events, it's not really enough to discourage those who enjoy this type of anime. On the other hand, while the undercurrent of tension between certain characters can sometimes shed new light on the relationship dynamics, it can also place an unnecessary burden on the narrative as the issues beg to be explored, but very few are actually resolved.
Ikoku Meiro no Croisée tries very hard to avoid being categorised as nothing more than 19th Century moe fluff, and in several small ways it manages to achieve its goal. Unfortunately the rest of the show is a bit too sugary-sweet, and while it can be charming, it studiously avoids addressing any of the real issues that someone in Yune's position would have faced.
It's idealistic escapism, which is okay up to a point, but it's also far too nice for its own good.
