Calculating the period at which Ikoku takes place

Episode 1

While Ikoku Meiro no Croisée is obviously fiction, since it is based on real life Paris in the late 19th century, I decided to try to pinpoint a certain timeframe that would be possible for the anime to take place in based on real life incidents and what was shown in the anime. Right off the bat, we know that Ikoku takes places in the 19th century (as shown on the picture above), meaning that it should take place within 1800-1899. With that, we will increase the lower bound first (currently at 1800).

Proposition 1: Ikoku Meiro no Croisée cannot happen before 1886

One the biggest premise is that Yune, a Japanese, moved to France under the guidance of Osacar Claudel, a Frenchman that have gone to Japan more than once. This is only possible if the certain citeria are met:

  1. The French masses actually know about the existence of the Japanese. This is related to the two points below, since it would be rather hard for Japanese culture to be known if traveling to Japan is impossible and/or official, let alone passenger, entry to Japan is impossible.
  2. Passenger travel from France to Japan is possible. According to Wikipedia’s article about ocean liner, it was the main mode of transportation from “mid-19th century”. Unless there are other mode of transportation that is accessible to the masses before the existence of ocean liner, it is safe to assume that Osacar cannot travel to Japan unless the plot takes places around or after mid-19th century (aka around 1850s).
  3. That the Japanese government allows foreign entry. For the early half of the century, Japan was under the policy of Sakoku, which prohibited foreign entry, and it wasn’t until 1854 when Matthew C. Perry (Commodore Perry, you should have seen a parody of him in Sayonara Zetsubou Sensei) forced the Japanese to sign the Convention of Kanagawa, which effectively opened up Japan for foreign trade. For France specifically, diplomatic relations didn’t start until 1858 when the Treaty of Amity and Commerce between France and Japan was signed.

Therefore, it is safe to assume that France to Japan travel is not possible until 1858. Now going back to the Wikipedia article of Sakoku, it states that while it is a policy that prevented foreign entry, Japan was not entirely isolated from foreign countries, in particular, Nagasaki (the place where Yune originated from) still had trade with the Dutch, and hence residents in Nagasaki had still minor access to the western society. Yet, despite that, it seems that most interaction that Nagasaki had was to the Dutch (for historical reasons), as fact that Osacar doesn’t seem to be an important exporter, Osacar wouldn’t have the chance to interact with Yune before the opening of Japan. While for Yune, as she is a resident in Nagasaki, which was a port city with minor trades with the Dutch (and other countries) during the Sakoku, it wouldn’t be surprising for her to actually know quite a bit of western knowledge when she was living in Japan (she does know French in the anime).

Now going to episode 9, we are given a flashback between Claude Claudel and Camille Blanche, of the list of things that Camille shows Claude, two of them can really help to show the time at which Ikoku can take place.

Episode 9

  1. The novel which Camille was reading, Around the World in 80 Days, was first published in 1873, so obviously at scene must have taken place after 1873.

Episode 9

From Wikipedia

 

  1. Camille was talking about her dad buying a car, pointing to the car shown above. In the scene, the book had a line that read “Benz Patent Motorw”. A quick search on Wikipedia shows that it most likely to be referring to the Benz Patent-Motorwagen, a car which not only matches the description (runs on gasoline, which I don’t think was common around that time), but also the picture that was shown (compare above). Therefore, I conclude that Camille’s family was planning to get a Benz Patent-Motorwagen, which was first shown to public on July 3, 1886. Hence, since that car is already known to public around that time, that scene must have happened at or after July 3, 1886 (and since they didn’t have internet then, it is safe to assume that they didn’t get the news until after July 3, 1886).

Therefore, Ikoku Meiro no Croisée cannot happen before 1886 (or July 3, 1886).

Also the anime is highly likely to happen several years after 1886, as that scene involving the Benz Patent-Motorwagen happened in a flashback, when Claudel and Camille were still adolescences, which is obviously several years before Yune’s arrival. So while it is highly that Ikoku happens after 1890 (4 years after 1886), I did not state that in the proposition since I do not have solid data/evidence on what the time lapse between current time in anime and the flashback was.

Well, now that we have gotten the timeframe down to 1886-1899 (span of 14 years) or 1890-1899 (a decade). So can we decrease the upper bound (now 1899), so that we have an even narrower timeframe of when Ikoku was possible? A bit harder. The following are some points that I thought might help in decreasing the upper bound:

  1. The non-existence of the Eiffel Tower. The Tower started construction at 1887 and was completed on 1889. So while I can use that to support the timeframe of 1886-1889. Two problems arise from this. One is that I’m ignoring the possibility that the Eiffel Tower already exist during the span of the series, but Yune and co. just never had the chance to see the Tower, and two, it limits the time lapse between Yune’s arrival and when Claudel and Camille were still adolescences at max of 3 years (Eifel Tower was completed at March 31, 1889, less than 3 years after July 3, 1886).
  2. Public transportation. Interestingly, we only see horse carriages and horse operated omnibus on the roads (and the roads being really clean) within the series. Around 1886, trams already existed in Paris, but we never got to see them in the anime. Again with the logic with Eiffel Tower, we can’t just assume it’s non-existence just because it did not appear within the anime.
  3. Fashion – I don’t really know much about fashion. For female pedistrants, some of them was wearing what was described in the Wikipedia article as fashion in 1890′s.  For example, having the extended rear only (bustle) as opposed to having the dome shape dress below waist (crinoline). Yet, for the two girls in the Blanche family, they were both wearing crinoline, something which was supposed to be outdated by the 1880′s,1890′s. So are we back in the 1860′s where crinoline was all the fame, of was is just that the rich still rather wear something that is overly fancy (and outdated) to set themselves apart from the middle class. I don’t know what to conclude with this point…

Episode 6: Outdated?

Episode 1: Fits better to what was described in Wikipedia

 

So I guess I can conclude here now and say that the Ikoku Meiro no Croisée must have happened around 1886-1899, with high certainty of it being in the 1890′s

 

Edit: After being replied by predederva (twitter) commenting on the mistakes found in this post, I decided to go back and lightly edit the post.

Ikoku Meiro no Croisée, short summary

At the start of the summer season, I went streight to Ikoku Meiro no Croisée, knowing that Satou, Junichi has a hand in the production of this anime. I thought, while he is not directly directing the anime, his presence and sound directing should make it as calm, pleasant, peaceful, like ARIA and Tamayura was, another Iyashikei. While in the end, it ended up being similar, it was in many ways not an Iyashikei. At the very least, their were a bit more conflicts between the characters, which some was not even properly mended by the end of the series. To quote tvtropes, Iyashikei anime should have a goal of “only to offer a means of getting away from daily worries, but to let the audience embrace a calming state of mind”, something that I hardly feel when there is conflict with Claude and Yune, Claude and Alice, Claude and his dad, Claude and Camille (sounds like a girl’s name)  etc…

O talking about Claude, you know what? I DON’T CARE ABOUT HIM AND CAMILLE, SHOW ME MORE YUNE. Actually, I didn’t really care about anyone in the series except for Yune (and maybe Alice, just because she is just so energetic around Yune), as most of them pales in comparison of Yune, who decided, at a young age, to go to a foreign country to work half the globe away, speaking in a foreign language, at a time when long-haul travel is unheard of for the masses, and Alice, being all energetic despite being a high class lady and having a deep interest in Japanese culture during a time where such culture is unknown to most people. I mean, what was Yune thinking when she decided to work in Paris, and what compelled her so much that she actually have functional knowledge of French at the very beginning. Sadly, by the end of the series, I was still left clueless of it except for the fact that she was really happy about it… Instead of spending time on Yune, the anime spent time on Claude and Camille, urgggg…maybe that was that reason that I haven’t gotten around to watching episodes 10-12 just because the ones before were more focused about Claude and Camille. I don’t care.

Since I came into Ikoku thinking that it will be related to ARIA, I was thinking of how, similar to Akari, Yune would be able to roam around Paris and be able to interact with various parts of Paris around the time of 1873-1887 and be in awe (with the audiences) of the prettiness of  Paris, obviously with tones of pretty background along the way. However, they decided to keep Yune within the Galerie and Alice house, with only few minor trips outside of those two environment, and instead focused on…well, interacting with other major and secondary characters (o, which I didn’t cared about). Lastly, they also did not dive into details on stuff like the France and Japanese relationship too much (important enough that there is a Wikipedia page dedicated to the French-Japanese relations)  I really wanted to see more of transformation of Paris during those times, and also Yune’s interaction with the city and her act of treasuring those memories. As it stands right now, Paris became so unimportant that any late 19th century western city would have suffice as the background.

O, I guess I been ranting too much. Ya, the art is nice, the music is nice and calm (Junichi is in charge of it after all), Yune is awesome. Pretty much Yune was the only reason that I watched this.

So in short: Yune is cute, I wanted the plot to focus on her more. Need more Paris scenery. I don’t care about the other characters.