Independence

Agonized result, myself-only tragedy-of princess huh? quote-emphasis

悲劇のプリンセス ('tragedy's princess') is the role she's mocking — the doomed-heroine archetype anime keeps offering her. The かい-って-さ ending stack is sneering, almost spat out: 'is THAT what you think I am?'

Such-thing isn't right?

そんなん is the colloquial contraction of そんなの ('something like that'). Heard everywhere in casual rejection — 'nah, I'm not having that.'

Sway-sway wavered

ゆらゆら is the onomatopoeia, 揺らぐ is the verb. Doubling the onomatopoeia in front of its verb is classic Japanese reduplication for emphasis — like English 'shake-shake-shaking.'

100 there-are options

選択肢 ('option-limb') is more clinical than choices in everyday speech — it's the word for multiple-choice exam answers. Calling life that way frames every moment as a test you have to pick through.

Lose-sight-looks-like worst decision (obj)

見失う ('mi-ushinau' = 'see-lose') compresses 見る + 失う into one verb meaning 'lose sight of' (literal or figurative). Pairs with 〜そう ('looks like / about to') to mark imminent danger.

Life-of outline (obj)

命の輪郭 ('life's-outline') treats a life as a drawing with edges still being traced. Pairs later with 命の色彩 ('life's-colors') — same metaphor, next layer.

Grasp-thing-as that one-person-of hand this finger-only

Reona's narrator narrows verification ('what I'll make sure of') to a single hand and her own ten fingers — a deliberately small unit of trust against the song's huge themes (fate, gods, devils).

(English line as-is)

ReoNa songs often code-switch into a defiant English line that the Japanese verses orbit around. Here 'money' reads less as currency than 'value' — don't throw away what's yours.

Whatever-be-done sell-cannot, hand-into-put-want independence

売り渡す literally 'sell-hand-over' — surrender by selling. The potential negative 売り渡せない ('cannot sell off') is stronger than 売り渡さない ('won't sell') — it's not a refusal, it's an impossibility.

(English chorus line)

The song's mission statement, in English. Japanese reserves rebellion in two registers: the elaborate, indirect verse (どうかしたって…) and the blunt declarative English. Both pieces are necessary — neither says it alone.

Heavy baggage shoulder-carrying-even-if

背負う ('seotte' / 'shouldering on the back') is the verb for both literal backpacks and metaphorical burdens — debts, expectations, family duty. 〜たって is the casual contraction of 〜ても ('even if'), giving the verse a clipped, defiant edge.

Someone-prepared empty-seat-as-for already sit-want-not

Best line in the song. 空席 ('empty seat') is what's offered to her: a slot already shaped, named, expected. 用意した ('prepared') turns it from gift into trap. The じゃ contraction (= では) marks 'as for / when it comes to' — 'as for that seat, no thanks.'

(English question line)

Aimed back at the listener. The Japanese verses are her own monologue; the English lines are the song's outward jabs.

Light-of impatience (obj) draw-go-onward

焦燥 (shousou) — that wound-up urgency that forces movement. Pairing it with 光 ('light') makes a glowing, almost feverish image. 描いてく = 描いていく, 'keep on drawing it.'

Imagination-with create-out heartbeat (obj) high hoist

作り出す = 作る + 出す ('create + bring out') — for things that come into being, not just get made. 掲げる ('to hoist / hold aloft') is the verb for raising flags, banners, ideals — fitting for an anthem about claiming yourself.

How-about-it-quote god-to-even hand-over-cannot

譲り渡す = 譲る ('yield / cede') + 渡す ('hand over') — yield-and-hand-over. The doubled morpheme makes the refusal heavier. 神様にだって ('even to a god') sets the impossible bar.

(English title-line)

The title returns as a possessive declaration — 'my' carries the weight, since the whole song is about who is allowed to claim her.

Forced beginning-even, myself-by choose-want-only

Thesis statement of the song. She concedes the past was imposed (強制的な始まり) — and demands only the right to choose what comes next. The 〜たいだけ ending is small, almost humble: 'just want.'

Myself (obj) myself-by choose-go-onward

Final move: 自分を自分で ('myself by myself') is a deliberate stutter, the same word twice with different particles, hammering home the agency. 〜ていく adds 'going onward,' meaning the choosing isn't a one-time event — it's the rest of her life.