#This Is Why I Read Romance

[thriftdyke]

it really does bother me how no one can seem to answer the question “what even is romantic attraction, really.” like some people are like “it’s who you wanna kiss and cuddle <3” and I’m like ok well kisses and cuddles can be either sexual or platonic depending on context. “It’s who you feel passion/desire/arousal for” well that just sounds like sexual attraction which you can have without even knowing somebody so I fail to see how that’s romantic. “It’s who you want to go on dates with” I go on dates with friends all the time plus “date” is a social construct anyway there’s really no innate difference between a date and hanging out. “it’s who you have deep feelings for” great news for you that can be literally any type of relationship. my friend told me she defined it as “who you wanna give roses to” and I’m like do u hear urself??? like the more I talk to people the more I’m convinced romance and romantic attraction is an elaborate socially fabricated illusion that has no real defining characteristics. and like there’s nothing Wrong with it being a constuct but why people are so attached to defending the supremacy of it is something I cannot for the life of me figure out

[freyadragonlord]

One of my favourite things about the end of The S-Classes That I Raised novel (major spoilers ahead),

is the realisation that the reason why Yoojin and Hyunjae's relationship looks so much like a love story at times is because it actually, honestly is.

Like, we know that sctir is a novel about love since the beginning, that's not surprising. Yoojin's capability for loving monsters (both literal monsters and the human kind) and the power of that love is at the centre of the plot.

But by the time you get to the end, you realise - and the author confirms this themselves in their final Note - that Yoojin's relationship and love for 2 specific people was the true core of the story, and what allows him to save the world in the end:

One is, of course, Yoohyun.

And that love is absolute; you cannot say that it's inevitable, cause we know Yoojin had to make a choice when he was a child between Yoohyun and his parents, and he almost chose his parents, but from the moment he decided to love Yoohyun onward, then it was unconditional and eternal. It's the love of a brother, but also the love of a parent and a caretaker.

And the other person is Sung Hyunjae.

And that love is not unconditional nor inevitable or absolute at all. It's not something that can be taken for granted. We actually see, because of how it ended between them before the regression, and thanks to the White Bird's power of seeing possible futures, that there were so many timelines where Yoojin and Hyunjae would have never come to care about each other fully (tho they are always at least somewhat interested in each other, because their personalities are actually really compatible).

But the White Bird also sees that the only possible future where the world is saved is the one where they love and hold on to each other. And that is how the story goes!

So, just like a romance novel, the necessary end is the one where they both love each other and accept that love. And it's not easy to get there! It's a slow burn.

From meeting to getting to know each other, appreciating each other's skills and intelligence, finding out they have fun together but still not trusting each other, to working on building that trust.

They go from a strong but superficial mutual interest to actually caring about each other as people.

Yoojin has to go through the self-doubt of feeling inferior and fearing that Hyunjae will lose interest in him. Hyunjae has to learn to stop pushing Yoojin away because he doesn't know how to handle having someone he cares about so much, and also someone that cares about him, because nobody in the world (except in part Song Taewon) likes Sung Hyunjae as a person, he is only ever admired from afar.

And in the end, after going through ups and downs and a few "break-up arcs", they make it. They accept their own feelings and each other's feelings.

And that's when Yoojin makes the choice to use the power that the transcendents gave him at the very beginning of the novel, to save Hyunjae. Not the world. Not even Yoohyun! Just Sung Hyunjae!

Yeah, the whole "gather 50 S-Class people", the very thing that gives the novel its title. That is not a power that is used to save the world!! It was meant to, but Yoojin is "selfish", and he will always choose to save the people close to him first.

And being able to love someone so selfishly gives Yoojin the power to save the whole world, too. As a bonus! A reward. Just a side effect.

So yeah. Is it romantic love? No. Canonically, there's almost no romantic love in the whole novel.

But is it a love story?? Yeah. Absolutely it is.

[girl-of-stupidology]

I LOVE PENTIMENT SO MUCH!!! WHERE WAS I WHEN THIS GAME HAD A COOL FANDOM BACK IN 2023 😭😢

As a person that never played a single video game besides Hades this year, never have I found a niche game that is legit made for me if not for Pentiment by Josh Sawyer. If you are an art historian lover, Illuminated manuscript lover, or love silly men and monks GO play it.

[orallech]

Halsin 1/?

[fir-fireweed]

STORY UPDATE! CHAPTER 10 IS LIVE!

This chapter is not long, but it was the most difficult for me to write. This is the chapter I have been dreading since I first dusted off my novella and embarked on this project. I knew the chapter was coming, I knew why it had to happen, but I still struggled with it. I can assure you I disliked writing it more than you will dislike reading it. Maybe.

But it’s not all ominous news—those of you on Ferret’s route are in for a nice treat! She really gets her time to shine in this chapter.

A big THANK YOU to everyone who has followed, read, rated, or commented on this IF! The reception to Viatica has been overwhelming and I love reading your asks and comments, thank you!

[afurtivecake]

I like that TSC, though written in the POVs of characters who experience physical attraction, still reads like an ace romance. It still relies on small tender gestures and moments to convey emotions like deepening feelings of trust. What it doesn't do is place characters together in big plot moments and just waving away the reason for the characters' sudden closeness as *it's sexual attraction*. Allo romance novels will tell you how they got together, but an ace romance is basically an entire thesis on WHY they got together. And I'd say TSC reads far more like the latter.

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.

[poorly-drawn-mdzs]

Instruction on Courtship

[First] Prev <--> Next

[lunarharp]

What led to this (orufrey comic, cw an uncomfortable/creepy scene)

[shitpostingkats]

Another thing I find so funny when comparing hades 1 and hades 2 in my mind is that. I'm like twelve hours into hades 2 and don't really feel the desire to pursue any romance routes. Like all the characters are super interesting and well written and I have no interest in watching Melinoë date any of them. Zagrues was my thot son and his sister? My aromantic queen.

[thelaurenshippen]

ah yes, the sweet sting of rejection from a billion dollar corporation who believes that "action stories don't appeal to romance audiences", welcome back my old familiar friend

[lokh]

mom avoids dead anime mom curse because he transitions. he’s always had a complicated relationship with pregnancy because of how woefully little people are told about potential complications and aftercare, and also because of how gendered it is, so after the birth of his second child he’s finally had it and decides to transition

he joins a local community group for mothers and at first it’s played for laughs how often they fall to the dead mom curse, but soon we find out more about how society has failed mothers and people who give birth, from information being withheld, procedures being carried out without consent, lack of accommodations and maternal and paternal leave, racism…

it also turns out that becoming a man doesn’t help with this, not really, because being a pregnant trans man brings its own problems. follow along as he learns more about being a parent and a mother, and maybe even… finding love???

coming to you never because I can’t write!

[dykedvonte]

idk if you've written any head cannons about this before but i'm curious what your thoughts are on arcades previous relationships

I think this is a very interesting question because we can even know if he had previous relationships? I don't know if you want platonic or romantic, so I will answer vague enough to fit both.

Arcade is a man that wants to be reserved and self-assured. When he first vaguely tells you about his past you can 100% tell he is very mournful of something and I really think its partly him not knowing his place in the world and being incredibly lonely. One of the ways you can recruit him is literally just by being gay and showing interest. That's not someone who is used to having deep, long lasting relationships of any kind. He never mentions friends his age growing up or otherwise and he is honest (once he opens up) about how he is considred too young to be taken seriously by the older remanents when enlisting their help (Imagine like trying to be friends with your much older aunts and uncles who like wiped your ass).

He is desperately trying to find a place and I feel like that applies to being among people as well, I mean he does hide himself in a tent with the followers. When I think of his past relationships I think of fleeting hook-ups or abrupt endings with him often being the one to do the skedaddling or walk of shame to wherever he was residing at the time. I say shame becasue I know he'd want to stay and get close but he's just too scared. It's understandable when 75% of the factions would want you dead due to your family lineage... even if you had no part of their actions. He has so much baggage and hang-ups I don't think he thinks it'd be worth it to unpack that with a friend or lover.

But since your asking what I personally think his fleeting, wasteland relationships were like here's my thoughts:

Most of his relationships (friendships and otherwise) started occurring later in his like, likely his early to mid-twenties. He had seen Enclave remnants be hunted and those who survived did so by staying alone...

His first friend was a wasteland girl who liked how well-read he was. It wasn't so much a traditional friendship but like two people who frequent the same places a lot. He provided the closest thing she was getting to an education and she provided pleasant conversation.

They barely knew anything deeper than each other's names or the topics they discussed but Arcade had never had a non-enclave friend before so it meant everything to him.

She was inspired to get a formal education and do something with her life and thanked Arcade before leaving to go do that. Arcade liked the feeling of helping and sought out ways to do that.

His first kiss is actually how he got into the followers in my head. It was the first chance he took to form a relationship outside the remnants and he wanted to follow him (him as in his lover). He wanted to join a diplomatic Follower group in the NCR and Arcade was terrified of being that close.

Following the last point it was a big blowout fight because Arcade refused to explain why he didn't beyond "Aren't we fine here?" and received a very harsh reading about his inability to open up.

His first actual boyfriend was a king gang member that liked to brag about how he was dating the smartest follower on this side of the wasteland. Arcade felt bad cause he knew he was only dating the guy cause he was crushing on The King at the time and the guy made him feel good with all the praise.

He broke it off under the guise that his work made him feel like he was being neglectful to their relationship and due to the kings' strong sense of duty/principles he understood

Gave Arcade his fav hair comb as a token of no hard feelings and Arcade felt extra bad cause it was like the one real and safe feeling relationship he had and he hated it was built on lies and half-truths.

Hence why he only tells the Courier half-truths, both is too much

After that he made a rule to only have FWBs and casual friends.

This worked as well as you think it did for a man like Arcade.

Most of the people he "dated" (weird coy flirting until he shut them out when they asked something deeper) were all people who wanted to go somewhere with him. He has a deep desire to live, experience and find himself but never has the courage to commit

This explains why you can so easily recruit him with flirting and promising to whisk him away into adventure. (Daddy issues much?)

All his "friends" were either the socially weird Followers who never asked much or people who were passing through and wouldn't question the random guy they hung out with for a bit knows too much about energy weapons or power armor or that old defunct faction that almost killed everyone with evil water... twice.

Silly Headcanons is he loves to rag and joke and is a little shit. He has a chip on his shoulder about how smart he is but he's never a direct jerk about

Not a touchy friend but he clings and hovers around partners and people he has a romantic interest in. Hand brushes, pats, standing close, and wanting to be very involved. Sad but he really wants a connection and even a small sign is enough to make him lose his sensibilities.

He hates it but he knows he's touch and emotionally starved so sometimes he allows himself to get a little lost in the love sauce.

Prefers friends and partners that are a little dumber than him. This has nothing to do with anything, dude is just attracted to idiots platonically or romantically.

This post is long just because I need to explain just how I think these characters think. Arcade is a guy who wants to be gay and own a garden and drink a glass of non-irrated wine with his friends while snarking to his partner. But he's also affliated with violent war crimminals and genocidal factins and settles for just trying to give that life to someone else.

[benevolenterrancy]

Can I ask what was your first impression of TGCF and if it turned out wrong or right?

My first impression of TGCF was "this goof continuously ascends to -- and gets kicked out of -- heaven, this is going to be clown town isn't it?"

And honestly I stand by that one, I think I was completely correct**

(**barring the fact that this goof will then go on to experience ever conceivable horror known to man but honestly I mostly expected it after MDZS)

[bazoonga-bazinga]

watching tua s4 knowing fully how its going to disappoint me rn and something that keeps bothering me is just how awful it is that they dont show what happens during the 6 year time skip.

like in season 2 we get to see an abridged version of how everyone got to where they are. this allowed for me as viewer to at least undertsand the reasoning behind the siblings' actions and conflicts. but in season 4 there is just none of that.

instead we only get to see the after of the timeskip. Whatever bits we do hear abt the time in between are extremly limited because they are things that are told to us from biased/flawed/one-sided perspectives. I as a viewer do not get a clear idea of why any of the 8 charcters of the main cast change the way they do becuase i am never shown how this change ocurred. its more i am told things and have to accept because of the 6 year gap.

lila and diego's strained marriage is actually i think the only they showed without telling to an extent. but it still would have also been nice to see thier struggles transitioning to suburbia and would also aid me to better understand why neither of them tried to find an adequate balance in the 6 years. also like why is diego working as a delivery driver? in my mind it makes more sense for him to be a mediocre private investgator or something like that? idk just some more context behind the tension and thier decsions (especially lila dear god dont even get me started) would have been wonderful

viktor's journey to Canada and his distancing from the others sounded interesting and i would have loved to see that on screen. he clearly is unable to form long lasting intamate relationships and showing his life in the time gap would have been a great way to show his journey of accepting the loss of sissy.

allison was definitely hit hard by the lack of explanation. i understand the scheduling issues with raymond's actor but it truly was a heavy blow to season 3 allison actions when they just said he left with no other explanation. most of her conflicts in season 3 were motivated by the loss of claire and raymond and you are telling me she just lost 50% of that a year afterwards? and like this doesnt get mentioned until episode 3??

i actually enjoyed klaus's shift to a risk averse person and it did make sense to me after losing his immortality to become more aware of not only his but his loved ones mortality. the biggest glaring issue is the one everyone has talked about: the lack of dave. i think if they had shown klaus trying to find info on dave and/or even visiting his grave in the timeskip it would been fine with me that he wouldn't mention dave that much. but the dog tags being on screen and him not saying anything is actually inasne??? also it sounds like there was definitely more to his sobriety than what they have told sad that we didnt get to see that storyline....

everyone has said thier piece on how luther just mentioning sloane and then no other explanation is actually awful. like a simple flashback fo luther searching and finding sloane living a different life would have been better than them giving us nothing💀

ben i actually have nothing to say...it would have been silly to see the crypto scam ig. also an explanation of why they even showed the other ben the post credit of the s3 finale i think is warranted. like even a mention of yeah there is probably another ben who belongs to this universe walking around would have been okay ig

five oh where to even begin.... first of all how tf does a person who isnt even in thier 20s even get a gig at the cia. i know they said some bullahit abt five being a part of a relative young group/recruit (cant remember the exact wording) but like a person who is younger than 19 getting a job at the cia is a bit much. also i actually refuse to belive that five wouldn't have figured out his boss was part of the keepers there is just no way. after the handler and reggie i refuse to belive that five would lose his suspicion towards authority figures. i think the only authority figure he has ever listened to was the founder version of himself and even that took time. like if you want me to believe that bs then show me how five turned his brain into mush in the 6 year time skip. either that or show how me his loneliness in those six year because from what i have right now five worked at the cia and that is it nothing else. like from what i have been told by the show nothing else happended to him besides working. which if thier implication is that he was only working and drifted apart from his siblings that message was not clear enough to me as viewer and would have been alot clearer if i was shown such as thing.

[ninainthetardis]

Just something I need to get off my chest

I really think that series like Harry Potter and Percy Jackson, fantasy novels with high stakes focused plots addressed to children, should be romance free. They would be so much better without any romance in it.

I mean, as a young reader, I was just there for the action, the magic, the adventure, the plot twists, the plot itself, the characters as individuals, some of their friendships... that kind of stuff in general. I didn't give a sh*t about romance, not even when I grew up and became a teenager. And those are books meant for children and younger readers, right? So, I'm going to share the opinion I had when I was younger (the one I have now would be much harsher, not to mention much longer).

Now, all the romance in HP bored me to death; most of it didn't even make sense. I just wanted to know Voldemort's back story and then proceed to see how they were going to destroy the horcruxes, you know? And yes, I get it, they're teens at that point and it's realistic they have love interests, etc etc etc, except it felt like that author (*insert disgusted emoticon here*) only chose those couples to make all the characters related by the end of the series and none amongst the relationships was really developed to make any sense or look good. Take Hermione and Ron. They'd have zero chances to work irl. Be honest. But mostly, they're lame, boring, casual, rushed pairings with no development whatsoever (thankfully, I dare to add), usually involving characters who are not compatible at all/in the long run.

This is about the canon, but moving on to the fanon ships (Dramione/Drarry), I don't think that that author would have been able to write enemies to lovers properly (I'd add the plus: involving an LGBTQ+ couple, for the Drarry). The sole idea of any of it gives me the ick. Like no. Thanks, but no thanks.

About the PJ ships, on the other hand... they are a mess. None of them is even remotely good. They're all just a total mess, featuring the following problems:

Weird/creepy age gaps

Toxic behaviour

Emotional abuse

Physical abuse

Disrespectful behaviour

Judgemental behaviour

Disregard/dimishment of other characters' trauma

Isolation of characters from other characters they care about/may meet and befriend

Pairings of characters who are not exactly compatible/would never work in long term relationships

Glossing over problematic stuff, which is a big problem considering the audience the books are aimed at

Also, when they get together, some of them are still KIDS. KIDS!

(Fanon ships also fall under some of these points)

In both cases, it's not even like they are necessary to the plot. The funny thing here is that these stories would flow much better without those parts. What's the point of forcing romance into a story where so much is already going on, which leaves little to no space to develop things properly, and in which such romance has actually no purpose?

No romance at all is better than sloppily executed romance. And not every story needs romance in it to be compelling. Especially if they're meant for kids and are full of magic, action and adventure.

A better exploration of the characters and their trauma would have been much more interesting for me to read as kid who became a teenager while the series were coming out, instead of reading cheap romance while the characters were, well, you know, fighting wars and dealing with tons of sh*t.