Only Love and Music Chapter 6 page 20

I hope others enjoy the reference in panel five. I feel it necessary to point out that in this particular setting the only versions of POTO that exist are the original Leroux novel, the silent film and Andrew Lloyd Webber's. There are several reasons why I did this. For one I figured these versions are the most well-known and even people who wouldn't classify themselves as "Phans" would be familiar with them. That being said I felt that by limiting the phantom-verse (for lack of a better term) for this story line anyone -Phan, new Phan, or neither- could be able to follow along. However this doesn't mean I can't make references and insert little "easter eggs" (like the "Phantom of the Paradise" one in panel five) to keep more older or more well-versed Phans entertained, but the characters won't always identify them in story.
Another reason I made the setting this way is for the sake of storytelling. If a main character -in this case Christine- already knows everything about the story it becomes harder to suspend disbelief. Even though, as the audience, we may already know what's really going on we still enjoy watching the characters learn, and how they react to what they learn. As a result we become absorbed in the world, and care for the well-being of our characters.
Hence I am able to write Christine as a "Phan," and yet still naive and overwhelmed by her circumstances, and (hopefully) prevent her from tumbling down the cliff of Mary-Sue-dom.

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Phantom of the Opera -Gaston Leroux
Phantom of the Paradise -Brian De Palma and 20th Century Fox