#1 Skipping the language barrier
Taking place in Paris at the end of the 19th century, Croisée in a Foreign Labyrinth is about a Japanese orphan, Yune, who is taken to France by the eccentric retiree Oscar Claudel. It’s a slice-of-life series about the struggles Yune faces in adapting to a strange new culture, but in this regard the anime is too indecisive and unwilling to commit to any long-term challenges.
For example, you’d assume that it would be fairly difficult for a Japanese servant girl to get used to speaking French. In episode 1, Oscar remarks that she only knows a few sentences, but is very good at reading the atmosphere and responding accordingly. Watching Yune improve at French would have been interesting, but this is then turned into a joke and it’s revealed that Yune is actually fluent in French… somehow?
We never really get to learn how Yune mastered speaking and writing a language from across the other side of the world. In fact, everything we learn about her past only serves to make her bilingualism even less believable. It’s a lazy cop-out that instantly soured my opinion on the show, from which it then never recovered.
#2 Protagonists who deserve to fail
Between this show, Tamako Market, and Magical Shopping Arcade Abenobashi, I am beginning to wonder if Japan has a “thing” for struggling shopping centers. The ‘Gallery” where most of Croisée takes place is a stylish, old shopping arcade where the local businesses are losing customers to a nearby warehouse owned by the wealthy Blanche family.
It wants you to feel sorry for these family businesses and craftsmen who are being killed off by a giant that can not be competed against. But is that really true? Maybe people flock to the Blanche warehouse because the Gallery sucks. Yune ends up living with the Claudels and working the register for their ironworks. A shop specialized in handcrafted metal objects and where every customer that ever walks in is guaranteed to be barked at.
The unfortunately named Claude Claudel is an angry prick to whom customer service is an alien concept. He is an insufferable brat to his customers, to his fellow shopkeepers, and even his own family & friends. He has particular beef with the Blanche family for being his direct competitors, which drives him to new heights of childishness as Yune befriends the Blanche family’s youngest daughter. He holds them responsible for ruining his business, but meanwhile he bitches at his customers and randomly closes the store when he doesn’t feel like working.
Oscar Claudel, though retired, is not free of blame either. Maybe the family finances wouldn’t be so dire if he didn’t spend his every waking hour dating Parisian women half his age. Or maybe the family could afford to buy ham if grandpa didn’t randomly disappear to go on luxurious vacations to the far ends of the world.
The Claudels are digging their own damn graves and I am not about to feel sorry for them.
#3 Inconclusive story threads
The issue with how the language barrier is treated in episode 1 is actually fairly emblematic of the anime’s writing overall. It’s willing to start a lot of drama to make problems seem significant, but then either forgets about resolving them or does so in the cheapest way possible.
I was repeatedly disappointed with the solutions to several storylines, but even more frustrating are the few cases where no ending is given at all. The most prominent of these is the rivalry between the Claudels and the Blanche family. We learn a lot about the personal relations between the family members, but it’s all background information that never sparks any actual development. The same applies to various other story threads that are just left to dangle, which makes the unambitious final episode extra underwhelming.
The only part of the show that is consistently good are the interactions between Yune and the French weaboo Alice Blanche, but these are sadly rare. The anime would’ve done well to focus on these instead and have a more comedic angle.