Kurama is the princess of an alien race called the Karasutengu, or Crow Goblins, who are a science‑fiction reimagining of the mythological Japanese tengu, specifically the crow‑featured variety. Her species traditionally produces very few humanoid males, and the royal bloodline is perpetuated through a magical slumber: she is destined to marry and bear children with the man who awakens her with a kiss. During a school tennis match on Earth, a coffin containing Kurama drops onto the court, and Ataru Moroboshi accidentally kisses her, becoming her fated partner. She immediately recoils from him, finding his lecherous nature repulsive, but for the sake of her lineage she feels obliged to transform him into a suitable husband.

Kurama is vain, haughty, and deeply superficial, showing interest only in strikingly handsome men. Her personality is shaped almost entirely by the all‑consuming goal of saving her bloodline, which often makes her curt, dismissive, and even cruel toward those who stand in her way. She holds an especially intense prejudice against Oni, the race of Lum, which puts her in direct conflict with several of the main cast. Despite her regal bearing and self‑image as an ideal woman, her single‑minded mission frequently backfires, leading to farcical outcomes.

Her defining ability is the manipulation of a giant leaf she carries, a trait borrowed from tengu lore, which allows her to generate powerful gusts of wind. She uses it both for combat and intimidation, adding a slapstick element to her appearances. In the story, Kurama’s role is that of a recurring supporting character whose attempts to secure an alternative mate drive episodic chaos. After failing to reform Ataru, she pursues other men, but every candidate comes with a fatal flaw: Shutaro Mendo is too similar to Ataru, Ryuunosuke Fujinami turns out to be a girl, and the handsome Rei transforms into a monstrous ushitora creature when distressed. All of her efforts are further complicated by the fact that each prospect lives near Ataru, who stubbornly insists he is still the one destined to father her children.

Key relationships underscore her comedy. She despises Ataru yet cannot escape him, clashes with Lum out of racial antipathy and romantic rivalry, and views Shinobu Miyake as an annoyance. Her ideal man is her supposed father, the historical figure Yoshitsune Minamoto, whom she reveres as the pinnacle of masculinity, making any mortal suitor feel inadequate. Kurama remains largely static as a character; she does not evolve past her initial haughtiness or her desperation to preserve the Karasutengu line. Instead, her value lies in the humor generated by her lofty expectations colliding with the absurd realities of Tomobiki.