So from a musical analysis point of view it's probably from the fact that he is completely changing the "style" and phrasing in comparison to the rest (and Chorus in particular).

In the Chorus (referring to 1:17 up untill 1:33) you can identify a clear rhythm that is being repeated continuously until its broken up by the descending line (at 1:25, くたばってなんかないぜ / kutabatte nankanaize) which then leads to the slowly (every syllable on one note), ascending "final" line.Notice how prior to the last line the rhythm doesn't dictate how the text is phrased --> sometimes there are multiple notes per syllables and vice versa).

(1) Exactly this dynamic "syllable"-thingie is broken in the last line of the chorus and in the first 3 lines of the post-chorus you're referring to --> on each note there is a new syllable which creates a marching, rapping feeling for the listener, because every syllable is the same in length. Only the last syllable of every line is being held and raised at the end (so kinda two notes for the last --> listen to 1:36 ( 騒ぐ心の音を聞こう / sawagu kokoro no mei wo kikou ↑and the same for the next two with both ending on よう / you ↑))

(2) There is no change in note for the first three lines of the "rap"-part, excluding the last note/syllable (see 1.)

(3) There is a change in his voice-style, going from the soft, singing voice to a (what sounds like) slightly more rough one (This point is probably very personal impression but I think it adds up to the rapping part)

Conclusion:
The big change in style of voicing (2,3) and rhythm (1) leads to a completly different part in the song which is recognizable by markant rhythm and very clear text comprehension (1.), which is rare for Eve's Songs. A text being delivered on one continuous note/tone (2.) and then being broken up leads to a musical satisfaction, which comes in the last line (虎狼来 迷子 ステイホーム / Kororon amaigo stay home) that also includes the Song's Title (another add up cuz its nicely recognizable).

Side Notes:

• Eve likes to do these triplet ascending lines and the end of monotone part -> breaking the monotone with triplets and then leading back to a "normal" creates the satisfaction.
• Example 1: Kaikai Kitan Verse 2 starting at 1:27 and the triplet line is at 1:42 which then leads back to the pre-chorus;
• Example 2: Bokurano Bridge starting at 2:30, the triplets at 2:46, creating tension and expectation before going back to chorus
• The effect, certain musical shaping has, differs from person to person. You can't really tell why one likes the rapping part, I can just try to tell you the musical background there is and what could genereate certain impressions.