Dex-chan lover
- Joined
- Dec 25, 2019
- Messages
- 2,149
Keeping the relationship from developing for the sake of not wanting a resolution to that until some groundbreaking plot moment is essentially admitting that it's a romance-focused story. If it isn't that important, it shouldn't be treated as that important, but it is. That's where the argument that this isn't about the romance falls apart.
Not necessarily. There's this idea that's been in writers' heads for years that romance stories built on "will they or won't they?" drama and the ever looming threat of a confession and start of a relationship are doomed to fall apart when you actually put the characters together. Whether it's because they believe that the audience is geared in for the tension of the wait for consummation of the relationship (either in the physical or mental sense of the word) and that resolving that tension will deflate said audience like a balloon sadly losing all its air, or some Joss Whedon-esque "happy people are boring" mantra that believes the audience can only be engaged by maximum drama, or just the scads of stories where the focus is on the chase and the confession/coupling are the climactic or ending action of the plot, writers have been conditioned to treat relationships as end goals in storytelling, not signposts along the way.
TVTropes I believe officially labels the trope as "shipping bed death", though it's also been called "Moonlighting Syndrome" after the 1980s TV show starring Bruce Willis that was long said to exemplify the trope (even though in actuality Moonlighting put its two leads together after 3 seasons of teasing as a desperate ploy to get viewers back, and the show's eventual cancellation was as much about already flagging ratings, Willis' outgrowing TV after being cast in Die Hard, and the ironic fact that the two lead actors whose characters' chemistry carried the trope actually hated each other in real life)
I would argue that this condition doesn't require the story to be romance-focused, just that the romance is important to some degree. In this series it is important, though I would argue it's not as important as it once was. And it just as easily feels like keeping them apart is as much about "that's how these stories go" as it is "we have to wait because the story hinges on this romantic development."
An example I tend to use of why this is pointless is Jitsu Wa Watashi Wa/Actually, I am.../My Monster Secret. (spoilers for the series follow for anyone who hasn't read it, though at this point I'd wonder why anyone interested in the genre and not averse to the series' fantasy/sci-fi elements wouldn't have)
It begins essentially as a romance-focused story (albeit as a full blown comedy rather than anything seriously dramatic) and while eventually the story of protecting various characters' secrets or unraveling mysteries that some are reluctant to delve into becomes the driving force of the story, the romance between Asahi and Youko is still fairly important the whole way through. And yet the author decided about halfway through the series, to put the two of them together. And lo and behold it opens up a whole new wealth of storytelling options because now it's not just about two dense idiots admitting they like each other, but two dense idiots figuring out how to navigate a relationship. The story was better for not having to constantly dance around each others' feelings for like 25 volumes or however many were released. And that's what I think they could do here. Get to the bloody point already, stop dragging your feet, and let the two of them be a couple while also doing all the cosplay stuff.