I don’t suppose for one moment that is aware of the never-ending care she’ll need. There’s a fatal flaw running through her, like a hairline crack in a Ming dynasty vase, but that very imperfection makes me love her with even greater tenderness.
I’m beginning to realize just how much of a child she really is, how terrifyingly immature and vulnerable - even unstable. And I’ll just quote my most favorite of lines here: However, once Erik meets Christine, it sort of goes downhill, and I’m really not a fan of how Christine is described as a mentally unstable person who would always need someone to take care of her - the part where she mentally regresses into a child after seeing Erik’s face and his coffin makes me feel kind of icky. Those, I think, are pretty convincing and well-written. I think my favorite portions of the book, and the ones I appreciate the most, are the ones detailing Erik’s past. Looking back over it now, though, I’ve pretty much changed my mind, and quite a lot of it has to do with Kay’s portrayal of Christine and the parts of the book that are actually covered in Leroux’s novel.
So I basically preferred Kay far more than Leroux. Kay’s Phantom was, in my eyes, far more romantic, which was probably intentional, given that Kay wrote her Phantom based on both Leroux and the ALW stage production. I was a younger phan, as you might imagine, heavily influenced by the 2004 film, and Leroux’s Phantom creeped me out. I remember the first time I read it through, I liked it a lot, way more than Leroux.
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