No one had touched her for three years. She had not wanted anyone to touch her… Obsidian could not know how attractive he was to her- young, probably younger than she was, clean, asking for what he wanted rather than demanding it (100).
Within the context of a dystopia, a romance tends to provide some level of hope; the idea that human beings are still capable of loving one another, even in spite of whatever trials and tribulations they may be facing, is a tantalizing comfort. Blade Runner and Speech Sounds both use this tactic, though the effects of the ways in which these relationships are started are incredibly different. Whereas the quick coupling of Obsidian and Rye is described quite clearly as being consensual, as demonstrated by the scene in Obsidian’s car, the romance–if it could be described as such–between Rachael and Deckard is rather uncomfortable to watch. The manner in which he forces her to kiss him is jarring, to say the least, and is so drastically different from Obsidian “asking…rather than demanding”. Both relationships are abrupt in their inception, bringing about the sense that these people are desperate for the comfort that a romance can bring within their respective circumstances and settings. However, Speech Sounds uses the quick creation and destruction of its romance to engender a sense of uncertainty–regarding in particular the ephemeral nature of happiness and security in Rye’s world–while Blade Runner uses Rachael and Deckard’s relationship to further blur the definition of what makes a human a human (for is it not inhuman, animalistic, to force oneself onto another person, or even an android?) and add to the sinister, gritty tone of the film.