Meroune's Tragic Romances

Thanks to her love of the story of Hans Christian Andersen's The Little Mermaid, Meroune Lorelei loves the notion of tragic love, whether it is unrequited love, her lover dying, or herself dying and leaving her lover behind.

Her love of the notion of tragic love is such that whenever a situation arises that even hints at a known tragic romance plotline she will lapse into an energetic daydream of the scenario and become increasingly "excited" as it plays out in her mind.

Unrequited Love (Chapter 12)
This romance is of love shared but not expressed between individuals due to an existing impediment. Such impediments can be but are not limited to one individual already being married or social laws disallow their joining (common in homosexual, interracial or love involving age-difference or social status).

Dying Love (Chapter 13)
This romance is of love between individuals where one individual is dying. As opposed to "battlefield death" or "accidental death", death in this romance is an extended ordeal where the individuals know that one of them is dying but they continue their romance anyway. As such "death due to sickness" is most commonly featured (with being prominently used in modern time) however death due to "magical curse" or "impending destiny" (where the character is "fated" to die) are also sometimes used.

Wandering Hearts (Chapter 18)
This romance is of love expressed by an individual toward another individual who is disloyal to them. This romance is commonly used when the two individuals are supposed to be bound through either oath, legality or a combination of both (such as marriage). The romance is often expressed through the viewpoint of the individual being cheated upon.

Sufferance due to Love (Chapter 18)
This romance involves an individual being forced to endure various plights in order to retain their love. Most often in these romances the individual will suffer plights based on degrading humiliation and social-razing; demonstrating resilience in character and strength of will as they lose everything in their world for the chance to continue their love.

Legacy of Love (Chapter 24)
This romance involves an individual having lost their lover (usually due to death or another reason to explain an extremely notable absence) but possesses an item or artefact that directly arose due to that love. Most often these artefacts can be heirlooms such as photos or letters, or a literal production from their love in the form of a child or children.

Broken Rape Victim (Chapter 30)
This romance involves an individual being mentally and spiritually broken into accepting another individual as their "love" even if they do not actually love them. Most often seen as the primary tactic used by villains in romance stories, in a tragic romance their efforts work and the broken target of their affections deign to live the remainder of their lives with the villain. The psychological term for this event is known as.

Love Separation (Chapter 35)
This romance involves individuals being actively separated by outside parties, thusly making it difficult for them to continue their love. This most often happens in romances involving opposing social statuses, the notion of "duty over love" (eg warrior/royalty couples) or characters with disapproving elders/parents/superiors.

Trivia

 * Meroune's love for tragic love tropes has led Miia into calling her a "Tragedy Freak".
 * It is implied that Mero possesses a masochist streak, which may explain her attraction to tragic romance.
 * While her love for the genre has not diminished, after seeing Miia and Kimihito have an intimate moment, Mero has started to realize that the fantasy of tragic love may not be as fulfilling in real life as she thought it would be.
 * Centorea Shianus lapses into her own Tragic Romance in Chapter 24, where she imagines herself (the banished knight) and Kimihito (the banished master) forever on the run from pursuers, during which their comradeship turns into romantic love. Tragically, these romances usually end with the pursuers finally cornering the lovers where-upon one or both of the lovers will take a stand; with the ending varying on whether the duo survive together in victory or die while fighting arm-in-arm.
 * Centorea lapses into another fantasy while she and Kimihito are being pursued by Keira in Chapter 44. In this fantasy she imagines herself staying behind to fight their assailants, while injured, to buy time for Kimihito to escape.
 * Episode 21 of the Almost Daily OO! Sort of Live Videos features Meroune in her room lapsing into a tragic love daydream whereupon she pines over Kimihito despite the "already existing relationship between Kimihito and Miia".
 * After each Almost Daily OO! Sort of Live Video short, one of the show's characters (usually whichever character was featured in the clip) will begin counting sheep (1-50) for the viewer to listen to while going to bed. During her "Counting Sheep Recording", Meroune starts counting sheep but soon deviates into iterating a tragic romance fantasy instead.