Kobayashi’s Maid Dragon S2E3

Sparrows! Specifically the Eurasian tree sparrow, known in Japan as the suzume. You can just about see them all over Japan, all year long—but that doesn’t mean they aren’t a season word!

Depending on their depiction, they can be used as a season word for most times of the year, but a major one is “late spring,” as that’s when they’re out and about finding food for their baby birds. You can also see in the art they look a little floofy, indicative of the winter coat they haven’t fully shed yet; suzume in summer have a more sleek look. Here’s a shot of them from late summer last season:

And from closer to winter here. Quite fluffy.

As a quick refresher, 季語 kigo, or season words, are words/phrases/concepts used to give a sense of season to a haiku (or other poem/work of art), which is what part of what differentiates them from a senryuu. They were used pretty frequently in a lot of episodes last season, but a bit less so this time so far.

Where Lucoa and Ilulu are talking about a “right” here, the Japanese word is 資格 shikaku. While this usage is similar to “right” in English, the connotation is a little different as the word actually means more “qualification.” 

Whereas a “right” is generally something you have innately in some sense (e.g. if you make art you automatically have copyright over it, you have human rights just for being human, etc.), a shikaku is something you earn (e.g. if you study and take a test for certification program and pass, you’re rewarded with a shikaku.)

Ilulu’s response to the question here is 


One way in which this differs from the English is that she’s not saying it would be right or wrong, but rather not the solution she’s looking for—because it would also mean undoing the words Kobayashi gave her, and that is something she doesn’t want to do, no matter what.

In contrast the English feels more like she thinks it would be wrong to do that, and even if she did it wouldn’t let her escape what Kobayashi said to her. (That would make more sense if Kobayashi had called her out on being evil, but that’s not really what went down.) An alternative wording might be something like:

“That wouldn’t solve anything. Besides, I don’t want to erase what Kobayashi gave me.”

This line is: 小林さんのようにはいかないなー

This is perhaps just my interpretation, but the English here sounds like Lucoa once convinced/helped Kobayashi in some fashion previously, is trying it again with Ilulu, but failing this time. (I don’t that’s ever happened though.)

In contrast, I think the Japanese is saying that Lucoa is trying to be like Kobayashi (e.g. when helping alleviate/solve Tohru’s various worries), and it’s not really working for her. I.e. “It’s not working like when Miss Kobayashi does it.” 

Ilulu’s line about “I don’t want to ask Kobayashi about it because she’d probably solve it too easily” seems to support that reading; the dragons know Kobayashi as worries-solver.

The English here has Lucoa saying she’ll go talk to Kanna/Saikawa, and casually telling Ilulu to wait in the bathroom. But Lucoa doesn’t actually talk to the kids, and even if she was planning to, why would Ilulu waiting in the toilet do anything?

The answer is that Lucoa is actually telling Ilulu to talk (to an unspecified subject, assumed to be Saikawa, since she’s a human and thus someone Ilulu feels guilty about interacting with; Kanna she’s more fine with, as a dragon). And instead of “Go ahead and wait in the bathroom,” it’s more of a “Go wait in the bathroom and see what happens,” with the implication Lucoa is going to set something up. 

And she does!

“I won’t lie about X, but Y is a different story.” This seems to imply she will still lie about Y? That seems a bit odd to me, especially when she just lied about X (those feelings) to Kanna/Saikawa minutes ago. 

The Japanese says something a bit different though.

The core of the middle line here is 気持ちに嘘をつかない kimochi ni uso wo tsukanai. Because the に, the particle indicating “direction,” is attached unadorned to “feelings,” it is saying not “lying about X” but “lying to X.” This construction, to say one is lying to a feeling, is fairly common in Japanese media. It’s basically equivalent in English to lying to yourself about those feelings.

(for “lying about X” you’d change the に into a について or similar)

So basically she’s saying she won’t pretend, to herself at least, that she doesn’t want to play. But that’s a separate issue to whether she has, as she said before, the “right” to play after what she did. 

You could maybe put it sort of like this:

“I won’t lie to myself about my feelings anymore. But that doesn’t mean I can act on them after what I did.”

I feel extremely silly even pointing this out, but the beam here is 尿意 nyoui, which is the urge to pee, not necessarily actually needing to pee. Hence why she seems to stop needing to as soon as she gets to the bathroom and walks straight back to the living room with Ilulu after they talk.

“Be deceived” here is not 騙される damasareru, lit. “be deceived,” but 騙し討ちにあう damashi-uchi ni au, which is like being hit by a sneak attack, being stabbed in the back, etc. In a fairly literal sense in this case too, as they’re talking about actual combat.

I mostly bring it up because it feels like there is not much difference between “being deceived” and “being tricked,” despite those being portrayed as polar opposites (deceived by hostile dragons, tricked by kind Kobayashi), so it might have been wise to differentiate them more in the translation.

E.g. perhaps “She had to change to avoid a knife in the back.” (though dragons don’t use knives, so maybe a claw?)

Another pretty minor point, but the “doesn’t know right from wrong” is 分別のない funbetsu no nai, where funbetsu means not so much “knowing right from wrong,” but a more encompassing sense of discretion and maturity.

I mostly bring this one up because it struck as me awkward to say Ilulu explicitly shouldn’t know right from wrong, since that would be going backward to her be okay destroying the city again. Instead it’s more that she shouldn’t need to feel weighed down by what’s “correct” or what she “should” do. One possible alt example:

“So go back to being a kid, and worry more about what you want to do than ought to do.”

(Lucoa also changes from a narrative tone to a more conversational tone at the end, in conjunction with the visual shift away from the flashback, so swapping the “she” to “you” might be appropriate.)

Note how Kanna shuffles the cards here. Depending on where you’re from, this may seem like an odd way of doing it (unless you watched Yugioh maybe). A lot of places with majority English speakers tend to use the overhand shuffle or riffle shuffle, but in Japan (and many other Asian countries) the most common shuffle is the one on display here, known as the Hindu shuffle. 

~The More You Know~

The act of handing over a piece of candy like this has been used as imagery in other places in the show as well, though I’ll leave thinking about what it represents to you.

“Blanket” is futon, which is used to refer to both the “mattress” part and “blanket” part of a full futon, the traditional Japanese bedding (not the same thing as the sofa/couch mattress you might hear called a futon in some places).

I mostly mention because just “a blanket” kind of sounds like they’re going to leave them on the floor, but they’re actually going to get the equivalent of a guest mattress (+blanket) to put them to sleep in, as it’s late enough for this to turn into a sleepover.

Just as a bit of trivia, the word she uses for “onlooker” here is the same term as the “spectator faction.” In the manga Tohru interjects with “Aww, come on, why not Chaos faction instead?” 

Also as a side note to this whole bit about Kobayashi wearing a maid outfit; recall this scene from early in season one, where Tohru found an outfit Kobayashi had bought and stuffed deep in a closet:

Relevant! Anyway, back to the actual episode now:

If you felt like this exchange felt a little disjointed, especially given Tohru’s tone of voice: the idea is that Lucoa is saying Tohru really goes to extremes when it comes to matters relating to Kobayashi, which is implying that it seems excessive to call so many people over for a relatively mild issue (not that she necessarily minds though). Tohru’s response is a slightly defensive “yeah I know, but thanks for coming over anyway.” 

(They’re saying it in ways such that you have to read between the lines a bit though, so it may not come across as easily in a translation.)

The word for “cold” here is 水くさい mizu-kusai, basically meaning “watered down” (like beer etc.), and used frequently to refer to a person/actions/words that the speaker considers too reserved for the relationship they have with the other person.

So it’s similar to cold, but cold in the context of an already warm relationship. If talking about a stranger or someone you don’t get along with normally, you shouldn’t use 水くさい; you can just say 冷たい tsumetai (lit. “cold”) or similar.

In this context you could probably have her say “No need to apologize, Kobayashi-san.”

Also I like how they swap around the honorifics (Miss, Lady, -san, -sama, etc.) based on the speaker (I think differentiating between dragons and native-Japanese-speaking humans?). I would say it works given the setting, but that’s just me.

The text there says “Money Street.” It’s probably obvious, but it’s based primarily on Monopoly, which is semi-popular in Japan (though not to the extent as say in the US). 

Just some trivia, but the “sales pitch” for the game in the Japanese market is more that it’s an educational game that teaches investing and negotiation skills. (The origin of the game in general being an educational tool about exploitation of tenants by landlords, so not quite the same thing.)

Japan also has Momotarou Dentetsu (”Momotetsu”), which is a video game series that’s been around since the NES and is broadly similar to Monopoly rules-wise.

I just want to point out, amid all the riches, the bag of potato chips and other junk food in the back there.

Mini-trivia: the cardboard boxes in the background there seem to be a mix of the Amazon logo and the Seino Transportation logo, a Japanese shipping company with a kangaroo logo.

You probably noticed it without me pointing it out, but I enjoyed the fact Elma got corn starch* all around her mouth from the daifuku and then immediately got told to go play with the kids while the adults are talking.

*It may seem like powdered sugar if you’re used to donut holes, but daifuku, like most Japanese sweets (wagashi) generally, is not heavily sugared and not even particularly sweet by the standard of most “sweets” (which is part of the appeal for many). The skin of the daifuku is powdered with corn starch or similar simply to make it less sticky.

Kobayashi’s “do that” here is やろー yarou, which can mean “let’s do X” (which is a construction often used to tell/suggest someone to do something, without really including yourself in the “us”). 

However in this case—especially given Kobayashi’s pronunciation and tone of voice—I think it’s actually a homophone of that, a form of 野郎 yarou, a word for “guy” with often negative connotations, like saying “son of a” or “asshole” etc. 

The idea, I think, being that his immediate agreement of “Oooh, right I didn’t think about you wearing it,” comes with a heavy implication of “yeah you’re right, you couldn’t pull off something cute like that,” so she’s replying with a (mostly good-natured) “oh you fucker.”

This giant 完 kan means “the end,” used like “fin” at the end of a story or game etc. It’s also frequently used in “fake end” jokes. E.g. a show about a sentient zombie might start with the main character getting hit by a truck and dying immediately. The end! …Except not, and they wake up as a zombie.

So here, the original goal was “make a maid outfit for Kobayashi to wear.” Then Georgie convinces Kobayashi that anything is a maid outfit as long as you are a maid at heart, so really, she’s already wearing one! The end! …Except not.

Here’s some extra, probably needless, context on this “annoying”: it uses the word 面倒くさい mendokusai, which is basically used to describe something as annoying, a pain, etc. When used to describe a person like this, one of the ways it can be taken is specifically that the person is really fussy about details that others wouldn’t really care about—which describes Kobayashi about maids pretty well. 

So just for clarity, it’s not necessarily “I became an annoying person who is a maid otaku,” and can be more of a “within the context of my maid otaku-ness I became annoying.” Just to kind of shed some light on the extent of her self-deprecation here.

The word Kobayashi uses for “helping with the housework” is 家事手伝い kaji-tetsudai, which is a noun* that means “a housework helper”… here, basically a more bland way for a native Japanese speaker to say maid. 

Hence why Tohru reacts with “Oh, don’t call me that, call me a maid!”; Kobayashi went as far as to acknowledge her clothes as a maid outfit, but not quite as far as calling her maid outright. That’s our “annoying maid otaku” doing her thing. 

*It can also be verbed.

These neighborhood notices, 回覧板 kairan-ban, ~lit. circular notice, are a method used by local governing organizations to distribute information or forms etc. For example, about an upcoming neighborhood event to pick up litter.

The general idea is that one person gets the notice, reads it, signs it, then goes and passes it to the next household in line. It saves paper versus sending everyone a thing in the mail, encourages interaction between neighbors, and is more likely to be read than a flyer/email, though some people consider them a pain and they generally feel a little dated.

The phrase for “piercing noise” is  劈く金切り音, tsunzaku kanakiri-on, ~lit. “ear-piercing sound of tearing metal.”* 

“Was it that loud?” in the Japanese is a little different, そんな音してた?, meaning “was it making a sound like that?” 

I’m mostly just bringing it up to say that the “Sasakibe’s cooking isn’t just loud, the sounds don’t even make sense” gag is alive and well this season.

*The “sound of tearing metal” phrase can also used idiomatically for some types of high pitched sounds, but I imagine it was chosen very deliberately here.

It’s probably obvious, but this is a reference to the music video of the OP for season one. You can see it on the official channel for the band, fhána, here.

The season two music video is here, and it seems to have decent English subtitles for the lyrics if you’re curious what they are.

The adjective here is ニヒル nihiru, an abbreviation of nihilistic. It can be used as actually “nihilistic” like in English, but it can also be used more colloquially to describe a person with dark vibes. It can almost be a compliment!

“Sleeping” here is 惰眠をむさぼる damin wo musaboru. Damin is not just sleep, but “worthless” sleep—not like a nap because you’re tired. Musaboru is a verb for ~gorging upon on something (often metaphorically, not just food).

The two words are somewhat frequently used together for, basically, lying around the house doing nothing all day. And not in a particularly flattering way, so it’s pretty funny for her to just be like “yeah I do that as a hobby I guess.” 

It doesn’t mean the same thing, but it’d be like saying your hobby is loitering. Maybe could have translated as like “Hobbies? Vegetating.” or “Procrastinating?” or something, though I don’t know if those would have the right impact…

Kanna’s word for “idol” here is アイドル aidoru, i.e. idol in the pop culture sense.

Tohru’s word is 偶像 guuzou, or idol in the religious sense.

(Tohru swaps to the pop culture “idol” when she starts talking about Kobayashi though.)

Kanna’s “lost it” it here is 大変 taihen, a pretty common, almost generic word used as an intensifier (greatly, immensely, seriously, terribly, really, etc.) in both positive and negative ways. E.g. “thanks, you really saved me!” or “that was extremely rude.”

When used alone, like here, it usually implies something bad has happened, like something has befallen Tohru and/or she’s in some sort of trouble. Hence why Kobayashi immediately rushes home worried and bursts through the door like this—and loses her tension when she sees Tohru is fine, just… extreme(ly annoying to Kanna and Ilulu).

You could maybe say e.g. “Something’s wrong with Tohru!” to keep that double meaning open.

(”Lost it!” also makes sense for Kobayashi to be worried about, but the type of worry is somewhat different in that case; “oh god what is she going to do” vs. “oh god what happened to her.”)

The “lick” here is べろ bero, an onomatopoeia for licking that’s also used as slang for “tongue” (noun).

A bero chuu, as in the chorus here, is slang for a French kills/deep kiss/tongue kiss.

~The More You Know~

The text here says “If your total assets are above one billion, proceed towards goal.” 

Only billionaires can win…

Here is 私のものはカンナのもの, lit. “What’s mine is Kanna’s!”

This line is a reference to a catchphrase of the bully/antagonist in Doraemon, Gian: “What’s yours is mine, and what’s mine is mine.” 

His line, and character, is so well known it’s spawned the term “Gianism” to represent that sort of self-centered philosophy: everything is rightfully mine, even if you think you lay some claim over it.

It’s interesting that the inversion of Gianism, i.e. “what’s mine is yours,” is the only way Kanna and Saikawa are able to overcome the rules, beat the billionaire, and win the game.

Solidarity forever.

Kobayashi’s Maid Dragon S2E2


The “stay quiet” here is 大人し[い] otonashii, which takes the word for “adult” and adjectivizes it. It’s a common word with a variety of meanings, such as  when something is “behaving” properly and not raising a fuss (from children to computer code to a chronic disease to political forces, all sorts of things) or when something comes across as “mature” (like a clothing design or a young person). 

In this case the idea is that the dragons had chosen to “behave” and mind their own business, which (they seem to assume) led the humans into underestimating them and deciding to attack. (”Stay quiet” probably does a pretty good job of getting that across, but just to fill it out.)


This is 残念ながら zannen nagara, or “unfortunately…”. 

The reason I bring it up here, is that it’s not a particularly intimate way of speaking and leans somewhat formal—potentially implying Ilulu has no more close relatives left to give her this news (and/or maybe her family’s social position is one where other dragons had to treat them with respect).


The second line here is 平常心を保つよ、私は, which is a fairly strong declaration of intent. I kind of feel like “I need to keep a clear head” sounds less confident, like convincing herself “ok bad situation, but if I just do this I’m fine.” In contrast, the Japanese imo is more of a “[Ilulu can do what she may,] but it won’t get it to me either way.” Just a mild point of characterization I suppose.


Just for clarity, she does use the word 雄 osu here, which is the more biological term for “in a sexually reproducing species, the one that produces sperm,” rather than a more gender-based term.


The TV show, シャシャシャシャキーン Sha-sha-sha-shakiin, is a combo reference to irl Saturday-morning kids’ variety show じゃじゃじゃじゃ~ン Ja-ja-ja-jaaN and weekday-morning シャキーン! Shakiin!

The former’s name comes from the Japanese equivalent of ta-dah!, while the latter’scomes from the ”sound” for becoming alert, going from relaxed/sleepy/bored/etc. to “wide awake let’s go.” (though not necessarily sleep/wake related)

If you’ve seen these two emoji:

(´・ω・`)  (`・ω・´)

The one on the right is the “シャキーン” one, and is the contrast to the gloomy one on the left (ショボーン shobon). Or these, going from asleep to awake:

( ˘ω˘ )スヤァ…  (`・ω・´) シャキーン

In manga and stuff you’ll also see it used for e.g. someone drawing/brandishing a sword, striking a cool poses with a lens flare, things like that.

I think it gets translated to metallic-y sounds in English fairly often in those cases (like drawing a katana, or a mecha pose), hence the translation above. 


The verb for “frolic” here is じゃれる jareru (no relation to jajaan above), which is like to play/mess around, typically in a physical sense. For example it’s used in the compound word じゃれ合う jareau, which is often used in the same way English might say “playful wrestling” about kids or animals.

Though the word Kobayashi uses is actually a different じゃれる compound, じゃれつく jaretsuku, which is like playfully/affectionately grabbing/cuddling up/etc., (also primarily regarding kids or animals). There’s a bit of overlap with some of the uses of あまえる amaeru mentioned in the last episode’s notes.

Assuming I had the visuals, I’d probably just write this as “Please not on my lap…” or similar. (Kobayashi also uses a different verb conjugation for Tohru vs. Kanna in this scene, ~つくな vs. ~つかないで; Kanna’s being more plead-y compared to Tohru’s more “cut it out!” feel, hence the “please.”)


“Contact” here is “skin-ship,” a portmanteau-esque combination of skin and kinship or relationship. It’s primarily a Japanese word (you won’t find it in English dictionaries typically), but it was apparently coined by an American speaker at an international WHO seminar in 1953 (from which a Japanese attendee brought it back to Japan and it was later popularized). 

The original use of the word was in reference specifically to parent-child physical intimacy, but as it became more widespread in usage the meaning extended to all sorts of relationships, from the platonic to the romantic. 

One reason, presumably, that the term caught on so powerfully in Japan is that it has historically been a very touch-adverse culture (at least compared to say the US), and this extends even to parents with their children after the first few years. You’d see (and still see) psychologists recommend “more skinship” to people, for example.

The relative lack of skinship may partially explain the head pat thing mentioned in last episode’s notes (e.g. when you want to touch your kid, but hugs aren’t on the menu) and things like the old “hand-holding is lewd” meme. (Note this isn’t just me getting all orientalist here; there’s been a good bit of research on the skinship gap, and how it may be shrinking, by Japanese scholars.)

This line is also a bit of foreshadowing that Tohru has realized Kobayashi’s… situation already.


The Japanese here is 心と心でつながった後は体ですよ, which I only really mention because I kinda felt like the English’s “Now…” implied she was saying they only recently ‘connected their hearts,’ which I don’t feel from the Japanese wording and would say is probably not how Tohru thinks. E.g. more of a “Our hearts are already connected; now it’s time for our bodies!” kinda thing.


This 3/3 is March 3rd, which “equals” ♀ because that’s the date of Hinamatsuri, sometimes also referred to as Girl’s Day. The third day of the third month was originally a holiday brought over with the Chinese calendar, and it morphed from a more spring/peaches holiday into it’s more girl-oriented version at some point in the Edo period.


One of the highlights of Hinamatsuri is the doll displays, as pictured in this short bit with the Saikawa sisters. There are various types of displays, but this sort of staircase arrangement is the most common I believe. Each level has a certain type of doll that goes on it, with the top level having an “emperor” and an “empress” doll—which is the pair Riko replaces with dolls of herself and Kanna.

There’s some similarities between these doll displays and stereotypical Christmas trees: a family is likely to have a set of ornaments/dolls they mostly reuse each year, you put them up some time in advance of the actual holiday, then get lazy and leave them up too long put them away for a year after it’s over. A lot of businesses and such will put up displays as well.


“The judge in the underworld” is left vague here and isn’t a specific reference to anything, but is generally in line with the typical “image” of what happens after you die (setting aside actual religious beliefs) in Japan. 

Please see the documentary series Hoozuki no Reitetsu for more info.


As of right now in the anime, Ilulu has only shown up twice, and only once of those when Kobayashi was alone. The implication seems to be that there have been other Ilulu encounters that we haven’t seen. 

Also, for clarity, the Japanese is 私が一人の時にいつもイルルは来るから, which is more of a “whenever I’m alone Ilulu shows up” than a “she only shows up when I’m alone.” (The English could sorta be read either way I think?)


This bit is それだけじゃないって、争い以外もあると思ってくれているからだ。私はそんなトールを信じているから… だからその為にイルルと和解したい

The main point of contention I have with this English is that it implies Kobayashi wants Tohru and Ilulu to make up. However, I’d say this is more Kobayashi wanting to come to terms with Ilulu herself (and just by extension Tohru/the other dragons/maybe other humans). 

That is, by making peace between herself the human and the “hostile” dragon Ilulu, she’d be helping prove Tohru’s belief correct—and she has faith in Tohru that it is (see also last season finale).  

(Notably while Tohru is Chaos faction herself, there’s not really been another Chaos dragon yet to be convinced like this. Kanna is no-faction, Fafnir is technically no-faction even if Chaos-ish, Quetzalcoatl is an observer, Elma is Harmony, and Tohru’s father is an exception on multiple levels.)

Without getting too deep into the “why,” one quick thing I’ll point out is that she says 和解したい wakai shitai, not してほしい shite hoshii or させたい sasetai etc., meaning it’s something she wants to do herself, not want/make someone else do. Generally speaking you can’t use the ~たい “want to” form for anyone but yourself (you don’t know what anyone else is thinking, after all), unless quoting them, asking, or in the ~がる “seems to want to” form.


This is a 防犯ブザー bouhan buzaa, a crime-prevention buzzer, also known as a personal or self-defense alarm. They emit a very loud sound when activated. The idea is you, well, use it like she does here, when someone is trying to do a crime to you.

Since most Japanese children walk to school, it’s extremely common for these devices to given to students (either by parents or a gov’t body). It’s technically recommended for adults to carry them too, though the advent of the mobile phone has driven down carry rates.

This particular one was probably purchased in episode four of season one, if you want to rewatch and see why!


This is 私にぶつけたい気持ちでもあるの?in the Japanese.

The verb for “tell” is ぶつける butsukeru, an evocative word meaning ~to slam against (somewhat similar to “vent” in English when used with emotions/feelings). 

The “something” is 気持ち kimochi, ~emotion/feeling/thought.

So the Japanese here feels a lot more expressive than “something you want to tell me,” I would say (that could just as easily be a translation of 話したいこと). That said it’s not an easy thing to express in English within the confines of the format here, especially if you want to keep the “target = ‘me’” part.

It might feel somewhat like “You got something bottled up you wanna hit me with?”, though I doubt if I’d use that either.

As a side note, the manga has Kobayashi say an extra line after this, about being the “main tank” to take her “hate” (Japanese for “aggro” in MMOs). 


A small note that “that girl and that boy” is あの子とあの子 ano ko to ano ko, so no gender specification in the Japanese (it’s a good language for talking about people without specifying a gender!).


“Next time” here is 今度 kondo, which is an interesting word because you can situationally use it for “recently,” “this time,” “next time,” or “soon.” 

The reason I bring it up here is the English “next time,” personally, leaves me thinking “Was there a previous time? What ‘next’ do you mean?”—just a heads up that that’s not really an issue in the original line.

Also: this whole extended scene with Kobayashi saving Ilulu is one of the “many senses” mentioned in the episode title. (see also episode one notes re ikemen)


As an aside, this “play” is じゃれ合い jareai, the noun form of the jareau that was mentioned in the above “frolic” note.


If you were wondering: “Do dragons use paper?”, the word here is 形骸化 keigai-ka, (almost) lit. ~reduced to bones, meaning something that once was strong/effective is now basically just a formality. It’s similar to the phrase “dead letter” in reference to old laws that aren’t really enforced anymore.

So two potential points of ~lore relevance~ here: 1) the rules probably used to be enforced, 2) we have no evidence (either way, from this) that they actually have them on paper somewhere.



This might just be me reading too much into the English (again), but one difference in nuance between these two lines is that the English has Kobayashi implying Tohru’s dad “seemed” kind (which implies he’s not really kind, just kind in contrast to this villain), while the Japanese is more taking this as evidence that Tohru’s dad was actually being kind (see also last season finale).

For those wondering if the みたい in that line would imply a “seems”: it sort of does, but it applies across the whole observation here. I.e. “seems Tohru’s father was genuinely nice” vs. “making Tohru’s father seem genuinely nice” (which I’d guess would probably use 優しく見えてくる or something). 


When you see “underestimate” in anime, most of the time it’s なめる nameru. It comes from the verbified archaic adjective 無礼し nameshi, meaning a combination of looking down on, acting rude towards, etc., and uses the same characters as “rude” (though often written in hiragana/katakana).

It also is a homonym of the verb “to lick,” so “Don’t underestimate humans” sounds identical to “Don’t lick humans.”


“Functional member of society” is 社会人 shakaijin, ~lit. person of society, which is a very commonly used word to refer to basically anyone who is an active member of society. It includes homemakers, so it’s not strictly “has a job at a company,” but in many contexts it’s used like “people with jobs” versus “students and NEETs.”

(Not that there’s anything wrong with the translation, just some extra context.)

A technique reminiscent of this shadow puppet silhouette style was also used in Hyouka, another Kyoani show and one directed by the late Series Director Takemoto Yasuhiro. 


I kind of feel like yelling “Stay with me!” at someone injured is something you do when they’re in danger of fading away, not when they’re waking back up? Maybe that’s just me.

The Japanese is お気を確かに o-ki wo tashika ni, a polite (since Tohru almost always speaks kinda formally to Kobayashi, as part of the maid thing) way of saying “pull/hold it together,” and is used in a variety of situations.


Kanna’s line is a question (e.g. like “are you okay?”) in the Japanese here, whereas the English sounds more like something you say to someone who’s injured to try to reassure them


This line is その子離れようとしないんです sono ko hanareyou to shinai n desu.

The English is a pretty literal translation: hanareru is the verb for leaving/separating (in some senses), and the ~you conjugation means “try to ~”. However, that conjugation also has a second use in just indicating intent—especially when used in the negative, like here—so e.g. “She didn’t want to leave your side,” or “She wouldn’t leave your side at all.”



Just in case: this is an emoji for expressing shock. 


One thing that is left out of the English in this line is the だけ dake, “only.” 

So Kobayashi’s not necessarily surprised at this by itself, but in contrast to the fact that Tohru says she probably can hide her claws/tail (so why not this too?).


The base phrase Tohru is saying here is 私たちの仲じゃないですか, which roughly means “that’s just our relationship,” and is used commonly when being thanked for doing a favor for someone close. It’s similar in meaning to something like “hey of course, no problem, I know you’d do the same for me.”

Tohru puts a little spin on it by adding the “eternal” to make it 永遠の仲, which is a separate phrase that means probably what you’d think it means.


This quick cut to Tohru’s feet and the light “foot pop” motion… I have a hard time believing it’s anything but the director trying to give some subtle “goodbye kiss when leaving for work” vibes, even if they aren’t literally kissing. Just me?


Here she says あのトール ano Tohru, lit. “that Tohru,“ which in this sort of context carries a meaning similar to using an italicized “that” in English: not just any Tohru, but that Tohru, the famous one. The implication is that yes indeed Tohru is well-known among other dragons—and known to be quite strong and merciless.


It’s not a particularly big deal, but technically this is 人間, i.e. Living with.


The ball hands thing is generally thought of as “Doraemon hands” in Japan. Doraemon gets the name from the food “dorayaki,” but “Dora” is also how you pronounce the first two syllables in “Dragon” (ドラゴン doragon).

Keep this in mind.


挨拶 (あいさつ) aisatsu, often translated as “greeting(s)”, is a lot bigger of a thing culturally for Japan than it might be for where you live. Though translated as “greetings” it also includes farewells and more. Basically a general term for “in X situation, say Y” style semi-set phrases.

In more traditionally minded companies, for example, employees are often expected to give a rote ohayou gozaimasu when they arrive (even if they think no one is around to hear it), and may get chewed out for not doing so or half-assing it. Then when passing someone in the hallway etc., an otsukare-sama desu, and yet another phrase when leaving for the dayAlso the ittekimasu and itterasshai (when leaving home/saying bye to them) or tadaima and okaeri (returning home/welcoming back)that probably many anime-watchers are familiar with. Even itadakimasu is an aisatsu. 

Obviously every culture utilizes “greetings” like this, but in Japan they’re pretty heavily ritualized and treated as a cornerstone of human relations, a key part of showing respect for your fellow humans (even people you hate!) and ensuring the smooth working of society. It’s not the thing they chose to have Tohru put first in her “living with humans [in Japan]” notebook for nothing!


The English “the” is a popular word to use in Japanese as an intensifier, similar to how it’s used in a sentence like “this isn’t just an [example], it’s the [example]!” 

It’s usually pronounced “za” and often written that way in katakana (ザ) for this usage. (If you type “za” in a Japanese IME, most will offer up “the” as one of the options to convert the text to, even.) 


The word she says here is 喝 katsu, which, in this sense, is a stereotypical thing for a Zen teacher to say to a student as a stand-in for explaining some deep Zen concept that words can’t describe. So here, it’s kinda like “Yes this may seem contradictory, but really it’s just too complicated for you! No more questions!” 

Obviously that’s oversimplified and it’s used in other ways too (see Saikawa’s father during the sports festival), but just for the purposes of this joke, there you have it.


The word used in the Japanese here is 建前 tatemae. If you’ve ever studied any Japanese, you’ve likely heard about honne vs. tatemae, your inner feelings vs. the front you put up for social reasons. 

People new to the language are sometimes prone to approaching that distinction with “well why doesn’t everyone just honne all the time, why play games?”, but of course almost everyone splits themselves like this. You probably hate your boss, but you also probably don’t tell them that to their face to avoid getting fired. Or maybe you have some family members you can’t stand, but act nice around anyway because it’s not worth the trouble to start fights. 

Japan just put names to the idea, and maybe leans a little more toward encouraging tatemae in more situations.


This is せいぜい悩むんですね.

せいぜい seizei as an adverb means doing something to utmost extent one is capable of. You’ve likely heard it from a villain somewhere saying something like “Struggle all you like, wahaha!”. 

Though it’s not necessarily down-talky like that, in modern times that is the trend (you can use it for yourself no problem, but if used to talk about someone else’s actions it may come off as belittling). Tohru, as one of the strongest beings in the setting and with the pride to match, uses it a lot.

悩む nayamu is to worry, fret, ruminate over (some difficulty etc.).

The sentence in general is one that is highly context dependent, but here it’s Tohru thinking to herself, somewhat impressed, that Ilulu is actually putting serious thought into the question of what she wants to do with her life. 

And, as the background suggests, finding it surprisingly adorable/admirable; up until just a few days ago, Ilulu was known as one of the most extremist Chaos faction dragons obsessed with nothing but destruction, yet look at her now. In a way, Tohru’s taken over an older sister kind of role for her.

(For the curious, if the ね was dropped or swapped to a よ here, that would imply she was directing the comment “at” Ilulu, rather than saying it in observation.)


The word here is 契る chigiru, which usually means to swear/pledge (e.g. swear a pact, pledge your love), but can also be a somewhat fancy word for having sex, especially of a married couple.

I feel like I personally would have used more of a euphemism for the translation.


The phrase here is ダメの助 dame-no-suke, where dame is no/bad/can’t do/useless, and (no)suke is a common ending to first names; both actual names and sort of on-the-spot nicknames; someone looking sleepy might be called a 寝坊助 nebou-suke in the same way as “sleepyhead.”

Or, as here, sticking to the end of things for comedic effect or as indication of a panicked/confused thought process.


( ° ρ ° )

Just in case: this one is also expressing shock, but a kind of dumbfounded shock. The ρ is a drooling, slack-jawed mouth.


In the next episode preview they talk about where Ilulu will sleep, since they don’t have room for another bed. Ilulu wants to sleep in the closet—or more specifically, the 押し入れ oshi-ire, which is a particular closet layout you’ll find in many Japanese bedrooms. 

The typical difference is that an 押し入れ was originally designed for 和室 washitsu, traditional-style Japanese rooms with tatami floors, primarily as storage space for folded-up futon/blankets/pillows, as you would put those away during the day to free up space. Thus they typically are rather wide, mildly deep, and have a waist-height, solid horizontal divider capable of supporting a lot of weight. 

They actually are pretty okay for sleeping in if you’re not claustrophobic or tall.

Anyway, I bring this up because you know who else very famously sleeps in one of these? That’s right: Doraemon.

Kobayashi’s Maid Dragon S2E1

Miss Kobayashi’s Dragon Maid, season two! Welcome back Kyoani. Here’s some notes on episode one.

(As a reminder, these notes are a combination of translation issues, things I thought might go unnoticed without certain cultural context, and info on certain Japanese words/phrases for language learners. Feel free to just skim past any that don’t seem like they’re up your alley!)

The magazine spread here lists six points on why you should visit (though all we can see are the section headers). For the curious, the points are:

  1. the maid uniforms
  2. the fashionable interior design
  3. the omurice (more on this later)
  4. the booths, great for hanging out/relaxing/etc. (reminiscent in my opinion of Japan’s family restaurants, which have a reputation of being a place you can just order something light/cheap, like unlimited refill fountain soft drinks, and hang out for a few hours)
  5. the menu
  6. “cream soda,” aka ice cream floats (ice cream in soda) made with, typically, the green “melon soda” we see in the image. You don’t see melon soda too often outside Japan, but it’s a staple at most establishments you’d expect to sell soda. It doesn’t taste like melons, but it’s worth a try if you see it (and like soda).

The last section header there is for a comment from the café staff.

The magazine here seems to be a local one (titled tentatively Oboro Town, as the place they live is Oborozuka), with the other text indicating it’s a spring edition introducing stuff about the area, including (obviously) something on maids. If you live in Japan, there are decent odds your local municipality will have a monthly magazine or newspaper-like thing along these lines with local business spotlights, news, lifestyle tips, etc. (checking my last one, it had a feature about how to avoid heat stroke this summer).  

“False claims” here is 誇大広告 kodai koukoku, lit. exaggerated advertising, is Japan’s equivalent of false advertising (i.e. it’s against the law).

The “without” in “without me,” is 差し置いて sashi-oite, which works as an adverb for doing something while ignoring something (an existing plan, a person who should have gone first or been consulted, etc.). “Without me” is basically correct, though imo the original skews a little more toward “how dare they claim to have the best maids—I’m the best maid!” versus “how dare they claim to have the best maids when they don’t have me, the best maid!”. (the latter maybe feels like it runs a little counter to the shock factor of the later “and now I work there” joke?)

Hence Kobayashi’s “yeah false advertising sure is bad, too bad you’re doing it right now.”

Kobayashi’s line here is まさにもえもえ!? masa ni moe moe!?, a classic pun on 萌え moe (the nerd term coming from “to bud/sprout”) versus 燃え moe (“burn”); the 萌え萌え maidragon is 燃えinating the countryside. As comes up later in the episode, “moe moe kyun” is the stereotypical example of a maid café “spell” line. 

(Kyun being a phenomime—like an onomatopoeia for things that don’t actually make sounds―for your heart “squeezing” when seeing something cute or when someone does something romantic for you, etc.)

This is いや絶対にやめろよ, which I’d argue is more of an absolute than “you’d better not do that,” though italicizing it to “you’d better not do that” to give it a hint of a threat might’ve worked okay (at least for those of us with a parent who spoke like that!).

Also, this bit is especially painful when thinking about the Kyoani arson incident… Though props to them for being able to make jokes about it now.

The OP has various references to previous Kyoani stuff here and there, for anyone who wants to go compare.

The unusual credit of “Series Director” here is listed as being filled by Takemoto Yasuhiro—the director of the first season, and one of the people who died in the arson. Now I’m gonna cry every episode…

The director for this season is Ishihara Tatsuya, who directed Haruhi and Nichijo, among other Kyoani titles.

“Evil den” is 伏魔殿 fukumaden, a term originating from an old Chinese novel you may have heard of. As the characters of the name suggest, it refers to a mansion hiding demon(s), and is used colloquially as a place/area that may or may not look fine on the outside, but is dangerous and the source of some evil/trouble. Apparently it’s also how they translated Pandæmonium, the capital city of Hell, in the Japanese edition of Paradise Lost.

“Maid café” kind of feels like it needs no explanation these days, but generally refers to a variety of café style restaurants where the wait staff is primarily women in maid outfits (other variations, like the butler café, where the wait staff is primarily men in butler outfits, also exist). Stereotypically they’ll have a mild role-play aspect, where the customer is the head of the house returning home (rather than a rando visiting a restaurant), though that’s not necessarily a requirement. They also have a variety of… other services, that will be touched on later in the episode.

This line is 頼もう tanomou, and it’s the stereotypical line someone says when they’re a martial artist storming uninvited into another fighting style’s dojo to challenge them; if they beat the representative the dojo throws at them, they get to take or break the dojo’s nameplate. Dojos weren’t allowed to operate without a nameplate, so this meant they needed to pay out the nose for a new one, or close. It was typically a pretty embarrassing thing, so often you’d get a lot of the dojo’s students leaving (and likely joining the stormer’s instead) as well. This practice is called 道場破り doujou-yaburi, lit. dojo-breaking, though a lot of people think it’s a lot more popular in fiction than it was in real life.

So Tohru is coming to drive this impudent, false-advertising den of maids out of business, or so she thinks.

Maybe not-so-fun fact: A lot of Japan’s convenience store and fast food staff are “housewives” with part-time jobs. Part of the reason for this is that the tax code gives the “primary” earner in a family a significant tax deduction for a spouse, but the deduction disappears if the spouse makes over a certain annual sum. This incentivizes spouses* to get a job that won’t pay too much/have too many hours, as the family actually loses some money over that threshold (ironically it kind of works how people who don’t know what marginal tax rates are think all tax brackets work). (*Even those whose children are old enough to not need constant supervision, who might otherwise enter/return to the workforce in a more full-time way.)

Setting aside the social issues: D’aww they’re a married couple.

Reminder that Kobayashi has very serious opinions about maids. (And also has “dead fish eyes” as a defining feature thanks to stress/long hours at work.)

As Kobayashi says, moe isn’t as common as it used to be, though you still see it used on social media etc. Most commonly I think it’s used as the verb (e.g. you see a fanart of a favorite character being cute and it gives you some feels: “Moeru…”) or in something like “gap moe,” the moe felt when someone betrays your expectations in a good, cute way (a stereotypical example being when a rough-and-tumble delinquent type adopts a stray kitten).

More recently in this sphere, though not “new” exactly, is adjective 尊い toutoi (noun 尊み toutomi), which is kind of like “precious” plus almost-religious worshipful undertones. Whereas moe is something you feel as the observer, toutoi describes the person/character being observed. A spinoff is 尊死 toutoshi, a pun on how 尊し is another (archaic) way of writing the same adjective, that combines 尊 with the character for death, to mean ~”so precious I died.”

Side note: she says バイト baito here, referring to it as a part time job and implying this would have been while she was in high school or college. Young Kobayashi…

The calendar on the wall here is an event schedule. Maid cafés may hold special events, which can be things like birthdays, other holiday celebrations, or themed days with different uniforms (e.g. yukata). 

The chalkboard lists the maids’ schedules for the month, so customers can plan their visits around who they want to see.

The corkboard has pictures of the maids and presumably their work names.

This is more for the Japanese learners, but:

The line here is 大活躍じゃん, daikatsuyaku being a stronger form of katsuyaku, one of those words that is often mildly annoying to translate due to how broad it is. In a lot of ways it’s just “being active” within some sort of field, but with strong connotations of being really successful+impactful and, often, in a way that’s worthy of praise, going above and beyond. “Doing a great job” sums it up reasonably well here, though you might argue it’s missing a bit of the “impactful” part (since she’s still the staff rookie but has already been given the kitchen).

The じゃん jan is short for じゃない janai (casual form of ではない), which taken literally is a negation of whatever comes before it (e.g. “she isn’t doing a good job”). However, it has three other main uses colloquially: asking confirmation (“isn’t she doing a good job?”), adding emphasis (“wow she’s doing a great job!”), and reminding/pointing something out (“hey, she’s doing a great job”).

Anyway personally I’d say “splendid job” is a bit too formal sounding for how Kobayashi generally speaks, including here, but it’s a minor thing. 

Here we see one of the maids doing one of the “special services” previously mentioned. The “standard” thing is to have the server cast a “spell” on the meal to make it taste better, and often the customer is encouraged to do it as well. Some places that are more focused on the special services gimmick will also have song/dance routines, allow photos to be taken with maids, etc.

Quick mention that here’s an example of じゃん used in the “pointing out” sense.

The 食ぃレビ is a parody of 食べログ (Tabelog)… which makes the 5 star rating insanely impressive, because almost no restaurants hit 4 stars there; it’s normal to give a perfectly good experience a 3-star rating. 

As a reminder from last season, Tohru spent a bunch of time perfecting her omurice specifically, so it makes sense it’s getting all this praise. Omurice, of course, being a Japanese comfort food that consists primarily of an omelette over rice that has been fried with chicken, onion, and ketchup. Often then topped with more ketchup, sometimes drizzled into a picture or a message.

The part of the episode title in parentheses, またよろしくお願いします mata yoroshiku onegai shimasu, is I think less talking about the new dragon (“her”), but rather a direct message from the creators to the viewers; a “hey we’re back again! please watch, and hope you enjoy!” kind of thing.

よろしくお願いします is one of those all-purpose phrases for interacting with people politely. Joining a new group? Sending an email? Asking someone to do something? Giving a morning greeting? Politely hoping people will watch your anime? It’s used for all these and much, much more (even when the literal meaning of the words might feel out of place).

The yellow lines here are mayo 🙂

Who doesn’t love some egg-and-mayo toast for breakfast?

(For reference, most mayo in Japan tastes rather different than the kind you’re likely to see in e.g. the US; it’s thicker and tangier, often primarily made with egg yolks—and no egg whites—and apple vinegar.)

Side note, but the mudslide bit here is a little unfortunate timing-wise, as there were some big mudslides in Japan (and somewhat globally it seems?) due to heavy rain recently that caused a whole lot of damage.

The Japanese phrase here for “clean up (one’s) own mess” is 自分のケツを自分で拭け, which quite literally is “wipe your own ass.” It’s used in a wider variety of situations that you might expect given the apparent vulgarity though, so it’s not too surprising to see it toned down a bit in the English here.

The specific variety of chocolate cake being referred to here is ガトーショコラ gatou shokora, a Japanese loan-word version French’s gâteau au chocolat. In theory it just means “chocolate cake,” but in practice it’s a very thick, moist type of chocolate cake made with a lot more chocolate and eggs than usual, and very little flour (you can use powdered almond etc. instead even).

If you’ve watched other anime, you may have noticed the head pat thing. Maybe it’s also a thing where you live, but for many of us it’s not really! It’s primarily a gesture of praise and affection from parent (or other trusted adult/older sibling) to child, that in some intimate cases is done between adults—so here we’re seeing a big moment of intimacy (well, you probably could tell that part anyway) between Kobayashi and Tohru. 

The sign here is for “Café Restaurant: The Dragon’s Nest.”

Her choice of wording here (break/壊す) seems relevant! We’ll see if that bears out.


This whole scene is a reference to a common phone scam in Japan, オレオレ詐欺 ore ore sagi or the “It’s me it’s me” scam. The idea is to cold call people and hurriedly introduce yourself as just “me,” and that you’re in a lot of trouble and need some money immediately (e.g. you lost an envelope of cash at work—envelopes full of cash being more common in Japan than you might think). Generally the hope is to get an old person who is a grandparent, as that generation tends to have money and is more likely to think “oh no I must save my grandchild!” and fall for the scam. 

Typically the scammer will ask to have money wired directly to another bank account, which is a basic function of Japanese banks and a super common way of moving money around (you can do it yourself from ATMs). It’s a big enough social problem that every time you go to wire money from an ATM, there is a screen that asks you to make sure you’re not getting scammed.

I’m not sure it comes across in the English here, but the punch line here is that she doesn’t call it out (or perhaps even recognize it) as a scam, but she still says effectively “rip,” indicating she has zero intention of sending the money they’re asking for. 

If trying to translate the joke, I might put something like “Well, good luck with that.” 

(The dance+flute thing is probably a snake charmer joke, since she’s the  “feathered snake” etc.)

The last train of the night tends to be around midnight in most Japanese cities, including Koshigaya (which is in Saitama but is part of the greater Tokyo metropolitan area), which Oborozuka is based on. Just a reminder that Kobayashi still works those crazy long hours.

The core question here is なんで…暮らせる nande kuraseru, which in this case I would say is more of a “how” can you live with a dragon, than a “why.” The verb here is conjugated into the potential form, so it’s like a “why are you able to live with” versus “why are you living with.” Kobayashi’s answer and Ilulu’s followup question seem to support that idea as well.

A lot of Japanese roads will have “stop signs” for cars printed on the roads themselves directly, as seen here. It’s some pretty clever framing for the shot visually, as “Stop” is probably exactly what Kobayashi wants her to do right now.

This verb is 甘える amaeru, which is a bit of a complicated meaning. It’s like “taking advantage” of someone or acting spoiled, but not in a bad way necessarily; for example as a parent, you want your child to do this some, because you want them to rely on you. It’s a thing in other relationships as well, from romantic ones to work ones (like senpai-kouhai); if you’re very close with someone, you don’t want them to try to do everything by themselves. 

There’s not a great single direct translation, but in some cases, for example, the phrase “I’ll take you up on that” in English is often used in a similar way (e.g. when offering to pay for someone’s meal). (the Japanese in that case likely being some variant on お言葉に甘えて)

A subset of that meaning is more of a purely physical one. When your cat comes up and climbs up on your lap and rubs it’s head on you, it’s amaeru-ing. Same with a young child that climbs up on a parent’s lap or asks to be held, or a romantic partner who comes home from a tiring day at work and wants a hug first thing. Or, as is the implication here, getting someone to let you have your way with them in a more sexual sense.

Anyway my point is laying all that out is to say that she’s not really saying “don’t you want to be loved?”. I’d argue that runs counter to Ilulu’s point/thought that Kobayashi’s relationship with Tohru is strictly lust-driven, and her desire to prove that point by seducing Kobayashi. That is, if Kobayashi responded with “yes I want to be loved,” that does nothing for Ilulu’s argument. For this specific instance something like “you want to have some fun, don’t you?” would probably be more appropriate. 

Like most of the location names in this show, Tatsunokuchi (瀧ノ口) is a dragon pun. Technically the 瀧 character isn’t dragon, but “dragon plus water” (waterfall), but the idea is clear. This one means then “mouth of the dragon.”

The train ad here is… actually for the train line itself! Sort of. A lot of train lines run ad campaigns encouraging people to go on local trips to some of the more interesting places located on that line, which is what this ad is in reference to. It says basically “[Take an] Enjoyable Trip with the Train.”

The ad behind Kobayashi here is for a drink to cure stomach related issues like heartburn etc. As you might expect, people with lots of stress and unpaid overtime hours tend to have stomach trouble! So these sorts of products get a lot of advertising. I don’t think they’re generally classified as medical products though, so I don’t know how actually effective they are…

This translation makes some sense as a reader, but in the second image it’s actually そんな人間に納得させたいことでもあるの?, meaning the question Kobayashi is asking is more like “What are you trying to convince me, who you consider a puny human, of? [Why would you bother trying to convince me of anything?]” So, the convincer and convincee have been swapped. This explains why Ilulu’s next line is “correct your understanding!” (意識を改めろ, or change/update how you think), as that’s what she wants to convince Kobayashi to do.

Of course, since we can assume from Ilulu’s flashback etc. that deep down she really does want to be convinced, it’s easy to skim over this as making sense, but Kobayashi doesn’t necessarily have that context (though as the conversation continues we see she’s kind of sensed it), and would probably realize poking Ilulu’s sore spot like that, by immediately laying bare Ilulu’s unconscious desire, would be a bad idea even if she did.

(Japanese grammar mini-lesson: For those wondering if this is correct because it’s に instead of を: に vs を here is basically a question of indirect/direct objects; the subject remains Ilulu. You can say “IluluがKobayashiを納得させたい / Ilulu wants to convince Kobayashi” and “IluluがKobayashiにthe fact humans & dragons can’t coexistを納得させたい / Ilulu wants to convince Kobayashi of the fact humans & dragons can’t coexist,” but if you want Ilulu to be the one being convinced in this structure, the verb would’ve had to be the passive 納得させられる.)

The ending theme めいど・うぃず・どらごんず♡ (made/maid with dragons[‘] (heart)) is shown as being sung by the the “Super Choro-gons,” referencing the choro-gon term also used in season one.

The word イケメン ikemen originated mostly as “a (certain type of) good-looking guy,” but has since expanded to include personality-based usages as well (to borrow an English meme, you could maybe call it having hot person energy? People who act in ways that make people fall for them naturally), and is not-uncommonly used to refer to people in both senses without regard to gender, at least in terms of “characters.” 

(Hence the “in many ways” here.)

腐った kusatta is rotten, but it can also (far less commonly) mean things like “feel bad” or “lose (a bet etc.).” I think here it’s just a funny way of putting something like “this week’s loser.”

It’s also a reference to season one episode ten, where Magical Girl Kanna tries to find the “rotten” people to cleanse the world of them (in a play).

まじやばい was also touched on in an episode last season! Specifically ep 4. Here, it’s basically saying “oh, you’s screwed.” 

A lot of Japanese fortunes of this type will have a “here’s something you can do to make your bad luck less bad.” In this case it’s “stay home, eat something tasty, then sleep,” hence Kobayashi’s jab that oh come on, you just want an excuse to do that yourself.