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BUMP OF CHICKEN · Spy x Family · Spy x Family Part 2 OP
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
osoraku kizuite shimatta mitai
It seems I've gone and noticed
Probably notice-end-up-past it-seems
気付いてしまった = 気付いた + てしまう ('end up doing'). The 〜てしまう nuance is bittersweet here — noticing is irreversible, you can't unsee. みたい softens the assertion: 'it seems.'
akubi no iro shita mainichi wo marugoto eiga no you ni kaeru tane to shikake ni deaeta koto
That I got to meet the seed and trick that turn these yawn-colored days, whole, into a movie
Yawn-of-colored everyday (obj) wholly movie-like change seed-and-set-up could-meet thing
種と仕掛け ('seed and set-up') is the magician's vocabulary — 種 ('the trick') and 仕掛け ('the rigging') together = 'how the illusion works.' Saying you've met the trick rather than seen through it makes life feel like a magic show that's been re-enchanted.
nakayoku narenai sora no shita kokoro wa shimatte kagi kakete
Under a sky I couldn't get along with, my heart locked away with a key
On-good-terms can't-become sky-under, heart as-for, put-away key putting-on
鍵をかける ('to put on a key' = to lock) is the standard idiom for locking. しまう ('put away / store') applied to the heart treats it as a thing you can shelve. Cool routine of avoidance compressed into two verbs.
sonna fuu ni dou ni ka ikite kita merodi ga kasanatta
Somehow I've kept living that way — and a melody overlapped
That-way somehow have-been-living, melody (subj) overlapped
〜てきた = 〜て + 来る ('come') — 'the action has been happening up to now.' Pairs with 生きる ('live') for 'I've been living [this way] up to this point.' The melody overlapping is the song's emotional pivot.
chiisaku tatte ii machi no donna hi yori mo chanto mitsukerareru mejirushi ga hoshikatta
Small was fine — I wanted a landmark I could find clearly, brighter than any city light
Small even-being-good, town-of any-kind light-than properly find-can landmark (subj) wanted
〜たっていい is the casual contraction of 〜てもいい ('it's okay if'). 街のどんな灯よりも ('brighter than any city light') is BUMP-classic phrasing — privileging one chosen light over all the city's noise.
kono me ga eranda keshiki ni hitotsu zutsu ribon kakete
Tying a ribbon, one by one, on each scene my eyes chose
These-eyes (subj) chose scenery-on, one-each ribbon putting
リボンかける ('tie a ribbon') is the gesture of marking something as a gift. Putting a ribbon on each chosen scene means treating each one as a present worth wrapping. ずつ is the distributive 'each.'
omiyage mitai ni atsume nagara tsuzuku yo kaerimichi
Collecting them like souvenirs as the way home goes on
Souvenir-like collecting-while continues, return-road
お土産 ('omiyage') in Japan = the obligatory gift you bring home from a trip. Treating life's scenes as 'souvenirs' compresses 'experience as portable gift.' The song title's choice.
kisetsu ga aisatsu kureta yo namida mo chotto hirotta yo
The season gave me a hello — and I picked up a few tears too
Season (subj) greeting gave-me, tears also a-little picked-up
Personifying 季節 as a greeter is a quiet anthropomorphism — and 〜くれる ('do for me') applied to a season makes the speaker's relationship with time conspicuously generous.
doko kara hanasou anata ni moratta kono kaerimichi
Where do I even begin? — about this homeward path you gave me
Where-from let-me-talk, you-from received this return-road
話そう is the volitional ('let me talk' / 'shall I tell?'), used here as a self-question. あなたに貰った ('received from you') with に marking the giver — gentle counterpart to くれる earlier in the verse.
kou narubeku shite natta mitai
It seems this had to be the way it became
Like-this become-as-must-being, became, it-seems
なるべくしてなる ('become because it had to become') is a fixed expression: 'inevitable / fated to turn out this way.' The rhetorical structure stacks 'becoming-by-must' before 'became' for a feeling of retrospective destiny.
toori-sugiru bakka no mainichi ni soko ni ita shouko wo sagashita
In days that did nothing but pass by, I searched for proof I had been there
Pass-by-only-of every-day in, there-was-evidence (obj) searched
ばっか is casual contraction of ばかり ('only'). 通り過ぎるばっかの毎日 ('days that only pass by') describes the modern routine — Spy x Family's Twilight, of course, lives a life of cover identities to mask exactly this absence.
sou shite kureta you ni te wo futte shiraseru yo
Just like you did for me — I'll wave my hand and let you know
So-did-for-me just-as, hand (obj) waving inform
そうしてくれたように ('just as you did for me') is a paying-it-forward construction: the speaker mirrors a kindness received. 〜ように modifies the verb that follows ('inform [in that way]').
mayowanai de ii to itte kureta you ni
Just like you told me — 'It's okay, don't get lost'
Don't-get-lost good (quote) said-for-me just-as
迷わないでいい = 迷う ('get lost') in negative-imperative + いい ('fine') = 'it's fine if you don't have to get lost' — i.e. the listener has been granted permission not to wander. 言ってくれた retains the gift-direction of くれる.
doko kara donna tabi wo shite mitsuke-au koto ga dekita no
From where, on what kind of journey, did we manage to find each other?
From-where what-kind-of journey (obj) doing, find-each-other thing (subj) was-able-to-do?
見つけ合う ('find each other') uses the V-合う suffix, which makes the verb mutual. Each side of the meeting is doing the finding — the song's image of family-chosen-by-coincidence, fitting for Spy x Family.
doshaburi ittai nan-kai kugutte waratte kureta no
Downpour after downpour — how many did you push through and still smile for me?
Downpour what-on-earth how-many ducking-through smiled-for-me?
くぐる originally 'to pass under (a torii gate / curtain)' — used here for pushing through trouble. The verb adds physicality: you're not just enduring but ducking under each downpour bodily.
tsuki yori tooi sekai kara tadotte kita kaerimichi
A way home traced from a world farther than the moon
Moon-than far world-from traced-came return-road
月より遠い世界 ('a world farther than the moon') intentionally cosmic — and 辿ってきた = 辿る + 来る, 'have traced (here, to me).' The kita ending closes the journey at the speaker's location.
kono me ga eranda keshiki ni hitotsu zutsu ribon kakete
Tying a ribbon, one by one, on each scene my eyes chose
These-eyes (subj) chose scenery-on, one-each ribbon putting
リボンかける ('tie a ribbon') is the gesture of marking something as a gift. Putting a ribbon on each chosen scene means treating each one as a present worth wrapping. ずつ is the distributive 'each.'
omiyage mitai ni atsume nagara tsuzuku yo kaerimichi
Collecting them like souvenirs as the way home goes on
Souvenir-like collecting-while continues, return-road
お土産 ('omiyage') in Japan = the obligatory gift you bring home from a trip. Treating life's scenes as 'souvenirs' compresses 'experience as portable gift.' The song title's choice.
doko kara hanasou anata ni moratta kono kaerimichi
Where do I even begin? — about this homeward path you gave me
Where-from let-me-talk, you-from received this return-road
話そう is the volitional ('let me talk' / 'shall I tell?'), used here as a self-question. あなたに貰った ('received from you') with に marking the giver — gentle counterpart to くれる earlier in the verse.
doko kara donna tabi wo shite mitsuke-au koto ga dekita no
From where, on what kind of journey, did we manage to find each other?
From-where what-kind-of journey (obj) doing, find-each-other thing (subj) was-able-to-do?
見つけ合う ('find each other') uses the V-合う suffix, which makes the verb mutual. Each side of the meeting is doing the finding — the song's image of family-chosen-by-coincidence, fitting for Spy x Family.
anata no kinou to ashita ga sora wo kazaru kaerimichi
Your yesterday and tomorrow now decorate the sky — homeward
Your yesterday-and-tomorrow (subj) sky (obj) decorate, return-road
Reversal of the earlier 'not-knowing your yesterday or tomorrow.' Now both decorate the sky — knowledge has filled in. 飾る ('decorate') treats the sky as a domestic surface.
uchuu no hate kara darou to tadotte iku kaerimichi
Even if it's from the edge of the universe — I'll go on tracing the way home
Universe-of-edge from-even, trace-go return-road
〜だろうと is the concessive 'even if it's (X)' — predicate + だろう + と (= ても). 宇宙の果てからだろうと sets the most extreme premise the song can find, then commits anyway.
aruite tokidoki nanka isoide anata ni mukau michi wo
Walking, walking, sometimes hurrying for some reason — the road heading toward you
Walk-walk, sometimes somehow hurry, you-toward heading road (obj)
なんか ('like / kind of / somehow') softens the next word: 'somehow hurrying.' BUMP often deploys it as a vocal shrug. The repeated te-form (歩いて歩いて) reads like footsteps on the page.
anata no kinou mo ashita shiranai mama kaerimichi
Without knowing your yesterday or tomorrow — the way home
Your yesterday-also tomorrow-also not-knowing as-is, return-road
〜まま ('in the unchanged state of') treats the lack of knowledge as a posture: I walked home with the not-knowing on like a coat. The Spy x Family resonance is loud — the Forgers don't know each other's true pasts or futures.
hashitte hazukashiku natte aruite anata ni mukau michi wo
Running, running, getting embarrassed, then walking — the road heading toward you
Run-run, embarrassed becoming, walking, you-toward heading road (obj)
Mirror of the earlier walking-walking-hurrying verse. Now the speed flips: running, then realizing you're hurrying too obviously, and slowing down out of self-consciousness. The most charmingly Japanese moment in the song.