Sunday, March 3, 2013

Hidamari Sketch xHoshimittsu 04

Hidamari Sketch xHoshimittsu 04 includes the six Hidamari residents, Yoshinoya, the Landlady, and Natsume. The episode primarily involves Yuno, Miyako, Nori, and Nazuna going to a hardware store to buy curtains.

Scene 01: 00:01 - 00:20
C: Yo
Yoshinoya wanders the Yamabuki High School halls in the early morning. Nothing noticeably yuri in this scene.

Scene 02: 00:24 - 00:51
C: Yo
Yoshinoya makes mischief in the principal’s office. Her insult of the principal’s authority is likely primarily a response to their tense relations and not indicative of a general desire to strike back against men, so she stays at 0.

Scene 03: 02:26 - 02:54
C: Yu, Mi
Yuno does radio gymnastics. Miyako joins in, saying it looked fun; her comment is vague about if she believed the radio gymnastics on their own would be fun or if she decided that spending time with Yuno would be fun, both of which are valid interpretations given her spontaneity and friendliness with Yuno. Yuno’s pleased response could suggest that she interprets Miyako’s reasoning as wanting to do the gymnastics with her, so their strong friendliness leaves both at 2.

Scene 04: 02:54 - 03:14
C: Yu, Mi, Hi
Hiro partially wakes up. Still partly asleep, she murmurs to Yuno and Miyako that they need to smile brighter or lose points. This surreal command needs to be viewed in light of Hiro’s state of semi-consciousness, and is therefore suggesting that Hiro harbors an unconscious want to see Yuno and Miyako happy, with the remark about points probably meaning she would feel a lack of happiness from them to be disappointing. The subconscious nature of this makes it strong enough to give Hiro a 3, while Yuno and Miyako’s confusion holds them at 0.

Scene 05: 03:22 - 03:37
C: Yu, Mi
Yuno and Miyako end the school day early. Yuno asks Miyako what she’s going to do after they return home, getting a slight increase for showing interest in her activities and possibly implicitly asking to do something together, but Miyako’s response does not similarly convey any yuri on her end. Miyako then asks Yuno to go to the school cafeteria with her, getting an increase for wanting to eat with her. Both get a 1.

Scene 06: 03:39 - 04:23
C: Yu, Mi, No
Yuno and Miyako meet Nori at the cafeteria. Yuno invites Nori to eat together, getting a slight increase for wanting to include Nori in her activities. Nori declines her offer since she’s already eating with people who are shown to be female, a rapid establishment of friendly relations with her classmates that gives Nori significant readings for her readiness to become close to other women. Upon realizing Nazuna is absent, Miyako asks Nori where she is, suggesting she believes Nori is aware of Nazuna’s actions at all times, and Nori responds that she doesn’t know, showing this to be untrue. As such, while Miyako gets moderate readings for her interpretation of Nori and Nazuna’s relations, Nori gets none for distancing herself from Nazuna. Miyako and Nori each end with 2, Yuno with 1.

Scene 07: 04:26 - 05:40
C: Sa, Nt
Natsume walks Sae to the curb. Natsume, leaving school with friends, sees Sae walking home alone, which prompts her friends to encourage her to “go for it” (行ってきなさいよ, “ittekinasai yo”) and to “do [her] best” (頑張って, “ganbatte”), encouragements for Natsume to strike up conversation with Sae that suggest Natsume’s complex emotions* toward Sae are visible and recognized in-universe, giving Natsume an initial rise for her lack of subtlety. Natsume, though initially troubled, eventually starts up conversation by asking why Sae is alone, and Sae replies that she left something behind and had to get it. The implication here is that Sae usually walks home with Hiro, so Hiro not waiting for her to come back from picking up her item reflects on Sae and Hiro’s relationship and suggests it is not strong enough for Hiro to wait, hurting Sae somewhat. After establishing this, Natsume awkwardly tries to make small talk, showing her discomfort at being near Sae, which is not automatically yuri but strongly implied to be so. After reaching the curb, Sae thanks her for walking her home with a smile and V-sign (a common informal gesture in Japan), using the word “つきあって” (“tsukiatte”) which can mean both “accompany” (when written 付きあって) or “date” (when written 付き合って)**. This unintentional pun severely embarrasses Natsume, prompting her to flee running from the suggestion of dating Sae. Her need to escape Sae suggests an inability to respond capably to an open, receptive Sae, in turn suggesting positive emotions for Sae from Natsume and even a desire to date her. Overall, while Natsume herself is careful not to directly suggest affection for Sae, others around her do it for her, bringing her to 4, while Sae gets a 2 for being friendly to Natsume and for the subtext of her pun.

Scene 08: 05:40 - 05:49
C: Sa, Hi
Sae and Hiro prepare to leave together. Though unstated here, other scenes in the episode (Scenes 12 and 24 specifically) reveal their destination to be the art supplies shop in the local department store. The location itself is not yuri, particularly since it’s likely to be for practical, school-related reasons, but Hiro’s especially dressed-up look and wait for Sae outside Hidamari Apartments both seem to suggest she has emotional investment in going together and alone, and Sae is implied to have similar investment. While it would be too strong to refer to the excursion as a “date” since no overtly romantic images are employed, a similar dynamic is suggested here, giving them both 3s.

Scene 09: 05:50 - 06:25
C: Yu, Mi, No
Nori asks Yuno for a place to buy curtains. Yuno and Miyako are drawing together in Yuno’s room, the understated nature of which implies that spending time together such as this is a very common activity, a closeness that substantially raises both of their yurilevels. Nori arrives and asks about curtain vendors, likely asking her since Yuno has lived at Hidamari Apartments longer than Nori has and not for a particularly yuri reason, though she also knows that Nazuna lived in the town before coming to Hidamari Apartments and would have an equally good chance of finding out where to go from her. Asking Yuno rather than Nazuna therefore suggests that Nori has a greater trust in Yuno than Nazuna, giving her an increase. Overall, everyone ends with 2.

Scene 10: 06:26 - 07:14
C: Yu, Mi, No, Na
Yuno, Miyako, and Nori ask Nazuna for a place to buy curtains. Nazuna’s involvement is primarily because she lived in the town and would best know local curtain vendors, and consequently doesn’t suggest a yuri desire on the part of Nori to include Nazuna. Miyako asks if she and Yuno can come as well, and though her intent is unclear and possibly just a desire to see things at the store, including Yuno by using the pluralized “watashi-tachi” (私ーたち) as opposed to a singular “watashi” (私) shows a desire to incorporate Yuno into her activities, raising her to 1 while the others stay at 0.

Scene 11: 07:18 - 08:02
C: Yu, Mi, No, Na
Yuno, Miyako, and Nazuna assess Nori’s current curtain situation. Miyako asks Yuno to stand behind Nori’s curtain without explaining why, and Yuno complies, showing she trusts Miyako despite her unclear motives. Though there was probably no reason for her to believe lewd activity was imminent, curtains are somewhat private and intimate, which is enough to elevate Yuno overall to a 2 and Miyako to a 1. THe rest of the scene is a joke about Yuno’s height or lack thereof, so Nori and Nazuna end with 0.

Scene 12: 08:05 - 09:18
C: Yu, Mi, No, Na
Yuno, Miyako, Nori, and Nazuna walk to the hardware store. Through much of the scene the four are depicted by solid color representations: Yuno and Miyako have their conventional red and yellow colors, ones that have been previously associated with them, while Nori and Nazuna respectively get blue and pink, and though in the West this would suggest a masculine/feminine dynamic, these colors do not appear to have the same connotations in Japan (in fact, since blue is sometimes regarded as feminine and pink as masculine, it would be exactly opposed to any masculine/feminine dynamic Nori and Nazuna have yet conveyed), so they do not receive yurilevels for this. Nori talks about her first lesson with Yoshinoya, attaching no particular emotion to her description of Yoshinoya’s lewd lesson. Miyako, from her previous experience with Yoshinoya’s first lesson of the year (see Hidamari Sketch 03), already knew Yoshinoya would offer to model nude, attributing it to Yoshinoya being herself and neither chastising it nor directly approving of it, averaging her to a 2. Nori later finds humor in recalling Yoshinoya being beaten by the principal, a pleasure in her pain that keeps Nori at 0, and throughout Nazuna seems uneasy at hearing about Yoshinoya’s open sexuality, a disapproval that also keeps her at 0. Yuno also gets 0 for conveying no subtext here.

Scene 13: 09:21 - 10:00
C: Yo
Yoshinoya hides from the principal. Again, her troubled relationship with the principal is specific to him and does not suggest misandry, keeping her at 0.

Scene 14: 10:04 - 10:26
C: Yu, Mi, No, Na
Yuno, Miyako, Nori, and Nazuna arrive at the hardware store. Miyako is impressed by a man, holding her to 0, but even had he not been there, this scene doesn’t have any significant yuri from anybody, merely serving to link between the sidewalk and the store. Everyone ends with 0.

Scene 15: 10:26 - 11:49
C: Yu, Mi, No, Na
Yuno, Miyako, Nori, and Nazuna wander around the hardware store. The depictions of screws and long blocks of wood at the beginning of the episode could be allusions to heterosexual intercourse, but I could not find evidence that these images have the same connotations in Japanese culture and as such nobody’s readings are lowered by it. While they walk, Nori and Yuno each appear to try to start conversations with Miyako and Nazuna respectively, though neither is especially successful so Miyako and Nazuna do not get readings for responding. At the end of the scene Miyako and Nori leave to use the bathroom, and Yuno says she and Nazuna will wait for them, though Nazuna is only somewhat alluded to and doesn’t get an increase for it. Yuno ends with 2, Nori with 1, the others with 0.

Scene 16: 11:49 - 12:10
C: Yu, Na
Yuno breaks the tension. Miyako and Nori’s departure leaves an awkward silence between Yuno and Nazuna, who apparently have not yet formed a strong social bond. Yuno, motivated by her status as the elder and inspired by shoujo manga***, reaches out to hold Nazuna’s hand. While she maintains outward composure, despite some internal consternation, Nazuna is very visibly alarmed by Yuno’s lewdness and pulls her entire body slightly away from Yuno, conveying her distaste for the actions presented. As such, she gets no side readings from Yuno’s actions, and while Yuno gets a 4, Nazuna ends with 0.

Scene 17: 12:11 - 12:41
C: Mi, No
Miyako and Nori talk in the bathroom. Talking in the bathroom, I would assume, is acceptable for women****, so neither gets initial yurilevels for it. Miyako refers to Nori as “Norippe” (乃利っぺ), a seemingly invented honorific that is closest to “-pi” (ぴ), a cutesy honorific used for pets (any speculation into this would be on too shaky a basis to have substantial merit, so we’ll go with “-ppe” being invented). Like with Miyako’s use of “Yunocchi” (ゆのっち), Miyako is creating more personal honorifics for those around her, slightly diluting the effect of “Yunocchi” but considerably increasing that of “Norippe” and showing her desire to have more personal, closer relations with Nori. Nori, unlike Yuno, is confused by Miyako’s honorific and does not accept it, so does not receive side yurilevels from it. Miyako also says that she noticed Nori had lots of blue things and inferred it was her favorite color, and Nori’s confirmation gives Miyako another increase for her comprehension of Nori’s personality. She ends with 3, but Nori’s general emotional distance from Miyako keeps her at 0.

Scene 18: 12:42 - 13:12
C: Mi, No, Na
Nazuna brings Nori a basket. She refers to Nori as “Nori-chan” (乃利ーちゃん), invoking the more familiar and intimate “-chan” honorific on Nori for the first time. Considering her previous discomfort with using anything less polite than “Nori-san” (乃利ーさん), it’s evident Nazuna has warmed to Nori considerably, and together with her attempt to aid Nori by bringing her a basket to carry the items she’s buying, Nazuna handily gets a 3. Nori, meanwhile, still seems somewhat friendly to Nazuna and is quickly thankful for the basket, limiting her at 1. Miyako’s brief appearance at the beginning of the scene doesn’t convey yuri, and she ends at 0.

Scene 19: 13:15 - 15:08
C: Yu, Mi, No, Na
Yuno, Miyako, Nori, and Nazuna look for suitable curtains. Miyako finds a lace curtain and drapes it over her head, which Yuno compares to a bride’s veil; she promptly adorns another lace curtain, at which point they exchange wedding vows (Mi: ”誓いますか?” Yu: ”誓います!”, Mi: “chikaimasu ka?” Yu: “chikaimasu!”, Mi: “do you [implied ‘take this person to be your spouse’]?” Yu: “I do!”). Though light-hearted, the ease with which they move from looking at curtains to pretending to marry each other implies a strong degree of comfort with each other, if not necessarily an easiness with the notion of marrying each other (something that could be inferred under a rather liberal interpretation), and each get very strong readings from it. Nori, still trying to find curtains, asks for Nazuna’s opinion on a pattern, a simple and slightly yuri question (since her choice of curtains, though a relatively insignificant decor detail, will be a long-term decision, hence Nori receiving levels for trusting Nazuna’s judgement in the matter) which Nazuna tries to avoid answering out of fear that she will not be able to make any decisions requiring design sense that an art student cannot. Nori rejects her fears, but her argument is that she’s asking Nazuna because art students don’t have design sense, which would not convey yuri the same way that professing a belief that Nazuna has design sense would and as such does not help Nori.  Reassured, Nazuna points out a design that was not previously shown. Since it was not seen earlier, it is assumed Nori did not see it, but having received Nazuna’s recommendation Nori decides to buy the curtains after a scant 6 seconds of consideration, calling them “cute” (可愛い, “kawaii”). After this, she finds Miyako has been observing her through the decision process and becomes embarrassed; this embarrassment is partly shameful (i.e., non-yuri) but also conveys that Nori may have considered her discussion with Nazuna about the curtains as a private moment, which gives both Nori and Nazuna readings for intimacy. Yuno and Miyako end with 4, Nori with 3, and Nazuna with 1.

Scene 20: 15:10 - 16:22
C: Yu, Mi, No, Na, La
Yuno, Miyako, Nori, and Nazuna meet the Landlady outside the store. The Landlady suggests she and the Hidamaris start a garden behind the apartments, which Miyako instantly agrees to (though out of the promise of food and not for noticeably yuri reasons). The others are hesitant, but come around after Nori decides it’ll be “nice” (嬉しい, “ureshii,” also translated “pleased” [implication that Nori et al. will be pleased by gardening]), and while their groupthink-based decision process suggests some shared mentality that could convey yuri, the decision that gardening will be fun without making explicit that gardening with the others will be fun is enough to keep Yuno, Nori, and Nazuna at 1 each. The Landlady’s subsequent and immediate relinquishing of responsibility keeps her at 0 for her focus on obtaining vegetables over spending time with her tenants, while Miyako’s focus on eating rather than enjoying gardening as a group activity keeps her at 0 as well.

Scene 21: 16:25 - 17:04
C: Yu, Mi, No, Na
Miyako inherits Nori’s curtains. Nazuna assists Nori in putting up the new curtains, though this doesn’t assist her yurilevels for two reasons: first, it does not suggest yuri closeness to Nori, being a simple task that could easily be done by a friend, and second, Yuno did measurements for the old curtains in Scene 11 and did not receive yurilevels there (primarily for the previous reason), which would make awarding Nazuna yurielvels here unfair. Nori letting Miyako take her old curtains also doesn’t suggest yuri closeness since she has so far been portrayed as a practical person and as such likely wouldn’t feel any attachment to old curtains, making her relinquishing of them a sensible and non-emotional matter. When Miyako describes how her current blinds do not work, the others are shocked, conveying a concern for her that raises each of them slightly. Yuno gets an additional increase for already knowing that Miyako’s blinds don’t work, an attention to details concerning Miyako that gives her a 2 overall, with Nori and Nazuna getting 1s and Miyako ending with 0.

Scene 22: 17:04 - 17:07
C: Sa, Hi
Sae and Hiro return to Hidamari Apartments. They are laughing, but the subject of their laughter is unclear; in the next scene Sae, still laughing, tells Hiro to “knock it off” (やめてよ, “yamate yo”), so Hiro was probably teasing Sae. They also seem to be walking in synchronization, but upon closer examination their leading leg changes with every step and as such it is not possible to ascertain whether they actually are subconsciously mirroring each other’s movements. Hiro gets 2 for her teasing, Sae gets 1 for taking it lightheartedly.

Scene 23: 17:07 - 17:11
C: Yu, Mi, No, Na
Miyako senses Sae and Hiro’s presence. She notes that they are coming back, referring to both of them together as “Sae-tachi” (沙英ーたち). Using Sae to refer to the two suggests that Miyako either likes Sae more than Hiro, feels that Sae is the more important of the two and thus the one more deserving of recognition, or believes that Sae and Hiro can be collectively considered a single entity of which Sae is the primary unit, all of which are somewhat yuri explanations. Averaging out their potential effects leaves Miyako with 3. The others do not have time to acknowledge Sae and Hiro’s return, staying at 0.

Scene 24: 17:11 - 17:45
C: Yu, Mi, Sa, Hi, No, Na
Hiro shows off her toilet paper. Yuno and Hiro exchange “welcome back” (お帰りなさい, “okaeri nasai”) and “I’m home” (ただいま, “tadaima”), the second time in as many episodes that these expressions (used for a family member returning home) have been invoked. Here, again, Yuno and Hiro get readings for treating Hidamari Apartments as a household and implicitly treating each other as family. Miyako asks what Hiro brought home, and Hiro unashamedly shows off the cheap toilet paper she purchased; her lack of hesitation in showing off a fairly private item gives her readings for her intimacy with the other Hidamaris, and Yuno, Miyako, and Nori get readings for attempting to cheer up Nazuna, who is distressed that the toilet paper pattern is the same as the curtain pattern she chose for Nori. Yuno and Hiro have 2 each, Miyako and Nori get 1, Sae and Nazuna stay at 0.

Scene 25: 17:47 - 18:51
C: Yu, Mi, Sa, Hi, No, Na
The Hidamaris plant a tomato garden. The choice of tomatoes is said to have been a group vote, showing that everyone has a mutual respect for each other’s opinions and getting a very slight increase since this is not especially yuri in itself. Once gardening begins, the six Hidamaris all break off into their established pairs: Yuno offers to assist Miyako in digging (which, later, involves brief hand-to-hand contact as Yuno hands Miyako a plant), Sae and Hiro simply walk away without saying why, and Nori enlists Nazuna’s help to water; these pairs cannot be automatically assumed to be romantic as nothing in the show overtly displays such a state of affairs, but these pairings recur throughout the series and as such do convey that there are delineations between the Hidamaris that make the members of the pairs closer to each other than to the group as a whole, and their use, such as here, generally gives everyone moderate readings. Towards the end, Miyako overexcites herself, causing Yuno to stifle a giggle that appears to be very warm and good-natured, helping Yuno moderately. She and Miyako end with 3, the others with 2.

Scene 26: 18:54 - 21:30
C: Yu, Mi, Sa, Hi, No, Na
The Hidamaris eat together. Yuno brings tea for the others, a gesture of good will which Nori thanks her for and which Nazuna apologizes for taking part in. Hiro offers to cook dinner, prompting a polite objection from Nori, who is informed by Miyako and Sae that Hiro often does cooking for all of them. While she cooks, the other Hidamaris watch a television show glorifying the lifestyle of the bourgeoisie; the program’s male subject and scantily-clad female host cancel each other out so that nobody is significantly affected by enjoying it. The seating arrangement while they watch TV and as they eat, clockwise from southwest*****, is Hiro, Sae, Nori, Nazuna, Miyako, and Yuno, which again invokes the idea of the Hidamaris separating into pairs from the previous scene as each one is situated next to their common partner. Food is served, impressing Nori and Nazuna, who both express delight at seeing the dinner laid out, implicitly complementing her cooking skills. Sae further compliments Hiro’s cooking skills by saying she can cook anything, and notes that she has Hiro cook for her often, a reliance on her that, in other contexts previously in the series, has been represented as Hiro acting like Sae’s housewife but here just suggests a mutualistic symbiosis (which is still fairly gay). Nazuna bemoans not having her mother teach her to cook, but Miyako insists to her that Hiro can teach her, and she and Yuno go on to imply that they were both taught by Hiro to cook; this indirect comparison of Nazuna’s mother to Hiro gives Hiro a maternal quality reinforced by her teaching Yuno and Miyako (her “children” in the motif of the Hidamari family) to cook and by the previous mention that Hiro cooks for everyone, a role traditionally assigned to the mother of a family, and raises readings for her, Yuno, and Miyako moderately. Despite this, Nazuna is not reassured, becoming more depressed as she relates multiple problems in her life (a process known as rumination which is common in persons with anxiety-related or depressive disorders). Nori tells her to overlook these problems and, as her solution to Nazuna’s despair, suggests they eat at the school cafeteria the next day, making a connection between Nazuna’s happiness and the amount of time they spend together. Nazuna agrees, but blushingly turns away from Nori until she takes hold of both of Nazuna’s hands and finalizes plans (待ち合わせしておこか, “machiawaseshite okoka,” “I’ll come find you” [translated as “let’s make a date,” which is slightly incorrect as it suggests something more romantic than the original Japanese]). Only after holding Nori’s hands does Nazuna smile, an indication that such intimate physical contact with Nori makes her happy enough to overcome the depression her character is primarily centered on, making it a strong enough joy to give her very high readings. She and Nori both end with 4, Sae with 3, and the others with 2.

Scene 27: 21:36 - 22:08
C: Yu
Yuno bathes. She notes, in the middle of a series of lewd and suggestive poses, that she has done many things with Nori and Nazuna despite having just met them and hopes they’ll get along; while it is moderately yuri to reflect warmly on spending time with them, her implicit uncertainty about whether they are getting along currently brings her down to a 1.

Final Yurilevel Readings: (both Aokis and Umes are out of 4):
Episode: 1.5340A

  1. Natsume: 4.000U
  2. Sae: 2.276U
  3. Hiro: 2.101U
  4. Yuno: 1.817U
  5. Nori: 1.779U
  6. Miyako: 1.664U
  7. Nazuna: 1.404U
  8. Yoshinoya: 0.000U
    Landlady: 0.000U

This episode is only the second in the series to give Nori and Nazuna substantial focus and the first to really treat them as full equals, so most yurilevels in this episode were primarily a result of their actions and their treatment by those around them. The curtain shopping storyline kept Sae and Hiro out of the episode for the most part so that they only had around 300 seconds of scene time each, so the consistently high readings they got in their brief appearances were enough to make them the gayest Hidamaris in this episode. This effect of low scene time equalling high readings is comparable to what keeps happening with Natsume, where she only appears in one scene, gays it up with Sae, and then doesn’t appears again, thus giving her 4.0 after 4.0 (something which happened in this episode as well). Yuno, being the most active in trying to incorporate Nori and Nazuna into the Hidamari social group, ends with strong readings, while Miyako, who is less active, does not. For Nori and Nazuna, who for the first time had a large enough body of data points to form sturdy conclusions from, Nori ended with substantially higher readings than Nazuna, partly from Nori’s greater degree of casualness with the others and partly from Nazuna’s general introversion. While in previous episodes where they were in less than ten scenes each Nazuna ended above Nori each time, Nori’s higher reading here is something I expect to see happen more often now that, presumably, they will have more storylines and more focus. The episode as a whole was nearly equal to the previous episode’s Aoki reading and continues the trend of xHoshimittsu being substantially gayer than previous seasons of Hidamari Sketch.

Further analysis will continue with Hidamari Sketch xHoshimittsu 05.

*: I cannot say “infatuation with Sae” even though it seems to be the intent from the producers. Though the Hidamari Yurilevel Project operates on the assumption that the characters are inherently lesbians, albeit repressed or closeted ones, it would make the project redundant to openly declare that any character is gay, since this would be mean the investigation is trying to prove something that was already proven by the show (for example, a sample scene in a possible future where everyone is canon gay would be “Yuno brushes her teeth. We saw in Hidamari Sketch Season 5 Episode 3 that she is gay, so even though tooth brushing is not yuri on its own, we already know she is gay, so she gets a 4, just like all the other scenes in this episode”). There is sufficient ambiguity in Hidamari Sketch that yuri content can be considered subtext, even if Natsume’s possible infatuation with Sae borders on explicit at times, and hence the investigation advances.
**: Much credit to Internet writer bornite, who noted this wordplay in the post “Hidamari Infodump” dated October 9, 2011.
***: Shoujo manga (少女マンガ) is manga written for adolescent girls of Yuno’s age. Many shoujo manga, particularly in the post-Gulf War era, revolve around groups of women with strong emotional connections to each other, such as “Cardcaptor Sakura” and “Pretty Cure” (though not the Hidamari Sketch manga, which is technically aimed at older men [the “seinen” [青年] demographic]). These manga often have their own yuri subtext to them, which could have influenced Yuno’s decisions in this scene.
****: My attempts to directly investigate this matter have resulted in prosecution for sexual harassment. If you live in the Glendale neighborhood of Fox Point, Wisconsin, consider this your legally-mandated notice.
*****: Depictions of Hidamari Apartments from overhead have frequently placed the windows at the top of the shot, suggesting this to be the north. The position of the Sun relative to the building, however, has varied from episode to episode.

8/24/13: Yamabuki High School was initially mislabed as "Yamabuki Academy." The name has been corrected.

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