I'll buy that there is advocacy in Blue Rose, but I didn't see anything in the original Blue Rose marketing that was about moral judgement of any other RPG players.
You may not have seen the TBP threads back in the day where I expressed my objections to a religion which taught traditional standards of chastity being explicitly set up as one of the setting's major antagonistic forces, and the one which, in fact, tended to come in for
more personal hatred from many of the fans (Kern, after all, was just being what Big Evil Bads have to be). Let us say that not much sympathy for this perspective was gained. (And online discussions
are part of how games are marketed.)
The problem is that this particular in-game issue is explicitly a real-world one as well. A game which sets up orcs as an intrinsically evil species can always defend itself by noting that orcs are not real, and any claim that they represent some real group the creator wants us to despise the same way is by definition a potentially inaccurate presumption. When two in-game cultures, one obviously meant for heroic protagonists and one obviously meant for, at best, considerably less-enlightened protagonists and more often antagonists, are set up in direct opposition over a real-world topic, and their positions are obvious echoes of real-world positions, and there is never
any suggestion
anywhere that the more heroic culture might be wrong in its position or that the antagonist might be right, that defense fails to hold water.
Like you, I generally don't bother caring what anyone else plays for their own amusement, but I don't think it can be denied that some products make it harder to defend one's like or dislike as mere personal taste, or aesthetic appreciation, than others. There's a reason everybody laughs at the claim that one only reads
Playboy for the articles.
I don't think your description matches up with that. Your description made it sound like romantic fantasy was mainly about internal struggles and/or romance. As Blue Rose describes it, the difference is more that romantic fantasy protagonists still face external challenges, but they do so in the context of a growing circle and community.
It's a question of priority of emphasis, and of necessary vs. sufficient elements. Romantic fantasy can still be what it is if the external challenges take place almost conclusively off stage, but it can't be what it is if the internal struggles aren't examined in detail, or the relationships aren't at least as much of a time- and attention-occupier as the action or worldbuilding -- you still need at least some of the latter, but you absolutely
cannot short-change the relationships, community or character-building, or you have something that looks like the chosen genre without actually evoking it much (q.v. the note above about CoC games not being the same experience as reading a Lovecraft story).