Frenemies as Lovers

Black Sun's protagonists start as as enemies. In fact, Leonard is the prisoner of Jamal, a trope that many publishers and readers shy from. I find it at least more honest than some frenemy arrangements, in which the "hostage"-taking is purely emotional (one member of the couple feels indebted to the other). 

However, this type of frenemy relationship works best in historical romances. The current trend of plots where modern-day protagonists form relationships with sociopaths, I admittedly find a tad nihilistic. 

I prefer my frenemies to be rooted not in emotional enthrallment but in personality differences. Leonard and Jamal are different but complementary. In a more modern setting, so are Minato and Shizuma from Therapy Game Restart. 

Minato in the "tacky" shirt

Shizuma bought.

Minato is smart, sharp-tongued, wary, self-aware, uncertain, quick-tempered, and dogged in his commitment. Shizuma is mellow, easy-going (despite being a hard-working and dedicated veterinarian), understanding, and easily romantic. 

Although their relationship is far more fraught with ups and downs than the brothers' relationship (Minato's brother is dating Shizuma's brother), it has grit--and believability. 

Frenemies in romance is best not as a state of continual uncertainty--but as a state of continual negotiations.

Frenemies: Uncooperative Parents in Manga

One of the most common solutions in manga to Romeo & Juliet parents--you mustn't date that person!--is....

To bow. 

It's quite different from such romances in the West where the common solution is to walk away from or tell off the parents. Although Shakespeare likely meant Romeo & Juliet as a cautionary tale (along the lines of "teens are soooo stupid"), the plot of Romeo & Juliet has shaped the West's response to romance: when the home life gets rough, elope. 

And it's not an entirely awful solution--depending on the parents and the situation.

It highlights, however, the difference in manga. In Megumi & Tsugumi, when Megumi's father remains unconvinced that his son should be dating Tsugumi, not only does the son try (several times) to discuss the matter directly with him--alongside a bow--Tsugumi responds by saying, "Okay, so what do I have to do to impress you?"

The amusing aspect here is that Tsugumi is the most unrepentant, obstreperous, belligerent young man in existence. But he is honest and sincere. The same quality that leads him to confront fellow students in fights also leads him to say, "If that's what I need to do, fine, I'll do it." Unlike the arguing parents--and even his boyfriend--he stays on-track. Personally, he believes that trying to convince the non-supportive parent is a waste of time. But Megumi wants it, so why not actually do it, rather than arguing about it?

It's a fascinating variation on the "wait for the parent's approval" trope (again, far more common in BL than Western M/M literature) because it is so entirely individualistic. Tsugumi comes across, for once, as the most level-headed person in the room.

Frenemies: You're Not Who I Thought You Were

Another workable variation on frenemies is that the protagonists have misunderstood the essential character of the other.

In On and Off, Kang would remain irritated and uninterested in Ahn if Ahn truly was as conniving (I'll use any means, including my body, to get ahead) as Kang initially assumes. Sure, Ahn slept with Kang. But the relationship would never go anywhere if Kang thought he was dealing with a manipulator. 

A manipulative relationship CAN work. That is, a member of the couple can realize, "Wow, my lover is always playing games and looking for a personal benefit. Okay! I can handle that."

However, the manga On or Off establishes that Kang despises such behavior. He falls for Ahn when he realizes that Ahn was desperate to not let down his fellow "programming in a garage" freelancers. (And Kang feels guilty, though Ahn doesn't blame him.)

In fact, it takes a volume or two for Kang to figure out his youthful, impetuous lover. At the end of Volume 2, although he has begun to suspect that his original assessment was wrong, he still assumes Ahn will act coy and play a flirtatious game with him full of double-meaning. But, in fact, Ahn is entirely guileless. What he says is in fact what he means! 

Cherry Magic also begins with misapprehensions. Adachi assumes that Kurosawa is Mr. Handsome-Everything-Perfect Guy. He admires him, including how hard Kurosawa works. But he doesn't really begin to fall for him until he realizes that Kurosawa is kind of a mental mess and...mushy. 

It is Kurosawa's flaws that draw out Adachi's affection, not his perfections.

Frenemies: Competitive Lovers

Gilbert and Anne not only get into various arguments and scraps. They compete academically. This type of competition shows up in several manga/BL stories. 

In Fake Fact Lips by Machi Suehiro, Ryo and Zen have been competing since high school. Ryo feels pressure by his father. Zen is trying to make his mark after growing up in his older brother's shadow. Zen is belligerent and self-conscious but his achievements are honestly pursued. Without realizing the impact of his words, Zen encourages Ryo to compete for the same reason. Rather than trying to satisfy a father who can never be satisfied, why not make Zen his rival? 

Ryo does, especially after he realizes that competition is a form of communication with Zen.

I have my doubts about competitive lovers. When does the competition cross the line into dysfunction, as in the CSI episode where the boyfriend causes his girlfriend's death when he redraws her hiking map? When does competition simply become too wearisome? 

Fake Fact Lips works for several reasons: Ryo and Zen are honest with each other; the competition continues to be a language of connection and flirtation; the competition is healthy in the sense that it involves achievement (constructive results) rather than negation (destructive or absent results). 

The healthy form of competition here is quite common in manga. In Yuri on Ice, competition inspires the two lovers as well as binding them together. In Free, which has no romance, competition inspires the somewhat drifting Haruka Nanase to connect to his future.

Like with all frenemies, however, the competition could go sour. As long as it doesn't...it works! 

Frenemies Archetype: The Bully Who Fills a Need

Frenemies work as lovers--but only if they would get along in the first place. 

Or, if the relationship is offering something that the other wants. 

Generally, I avoid romances where one person has all the say. I'm not terribly fond of the "civilizing" or corrective relationship. 

However, I tolerate a great many frenemy relationships if I believe that the relationship is filling needs for both parties.

Selfish Mr. Mermaid is a great example. The male mermaid ("mermaid" is used as a general term for "merperson") moves into the protagonist's apartment, specifically his bathtub. And stays. He argues that he was kicked out of the undersea realm but he appears to mostly just be irritated by people's demands at home, especially since he grouchily takes his lover home for various state shindigs. 

He is demanding and somewhat rude--he yells a lot. 

The protagonist, however, doesn't come across as cowed so much as relieved. He hates his job, where he is bullied. The kind of bullying offered him at home is tonally different. He is rebuked, cossetted, commanded, indulged, and basically looked after. When the merman does yell, he comes across as mostly confused--"Why are you crying?!"--a far more confidant Rochester--rather than domineering or pushy. 

Part of why the manga works, of course, is that merpeople are already unpredictable chaotic figures who are, nevertheless, very, very cool. Of course, the protagonist isn't going to kick the guy out! 

However, the manga 2-volume series succeeds because the relationship actually seems to work. The protagonist doesn't wilt but thrives. He is very happy in the relationship.