“It takes a while to get used to.” – Clarisse, on many things the characters face in this show.
The first thing I thought about the show after the first episode was that Yune was a pretty brave person. The main character of Croisée in a Foreign Labyrinth, her story begins in Paris, France in the 19th century after what seems to be tagging along with a French traveller, Oscar Claudel, in his journey from Japan in order to help out at his grandson’s ironwork shop. Why this happens, how it happens, and what Yune aimed to do weren’t being listed, and barely glossed over during the course of the show (other than Yune’s helping out seemed to be more like being a maid than anything else), because that apparently is not the point. Rather, our goal is to see Yune, and Oscar’s grandson Claude, try to start to make sense of different cultures (Yune’s Nagasaki heritage vs Claude’s middle-class upbringing in a turn of the century France) as she does what apparently amounts to a homestay at that point in time. One of the things that was endearing to me about her was her willingness to go full throttle with trying to understand a new culture and a new country. Things noticed include initially finding out how much she prepared for this trip in the first episode language-wise, or her struggles later on in trying to become tolerant of some idiosyncratic food (lol cheese) to help prepare meals for her housemates better. As someone who’s fairly hesitant to abruptly change things, as well as someone only having been outside of his country once years before with family in tow, Yune’s courage was impressive.