I honestly like seeing Eric with this zesty personality. It’s exciting to see what he’ll think of Ariel when they meet and how he might change. Hope you update soon! :)

I'm hooked! Lol. Update soon please!

This is certainly off the a promising start. I vaguely remember reading a fanfic that set the movie from Eric's point of view a couple of years ago, but in a single chapter you've added a number of interesting innovations and original touches that leaves me feeling very intrigued for more to come.

To start with the negative side of the ledger, however: There are a number of minor spelling errors throughout the chapter (I assume, for example, that when Grim tells Eric he's lucky the kingdom didn't "vanish" him it was meant to be "banish"), and, more significantly, your turn of phrase is often a bit awkward - sometimes you have adverbs doing a bit too much work in the sentence when a cleaner image would come with just a simple adjective, at other times your nouns are oddly formal (his best "societal" face, for example, sounds a bit odd, although I understood what you meant). The good news, however, is that your writing is strong enough that the odd error is practically invisible in terms of taking one out of the reading experience and your handling of the characters and plot so far generates more than enough interest to keep me thoroughly engaged anyway. So stick with me, the rest of my thoughts here are positive.

One of the best things about this opening is the way you clearly have a fleshed out and detailed world that you're working from. Not only do you show a level of depth and interest in the characters, both Disney's and your original creations, but the preponderance of casual proper nouns for places and kingdoms combined with some decent period detail gets us into the setting and convinces us that you know what you're talking about. The best, and most interesting decision here by far is to flesh out Eric's unknown backstory with the Princess of Glowerhaven. I think that's a fantastic choice, and you leverage it to the hilt to start packing in insight right away into Eric's romantic nature, his expectations and desires in a partner, his youthfulness and inexperience with girls and a way to fully flesh out the more complex, detailed world that you've imagined for him. Far from being a singular achievement, however, you also use it to show some insight and consistent characterizations of the other people around Eric. Grimsby (who is note for note perfect thus far) and Max are the obvious ones, but I really like what you've done with Princess Celeste too. Even if this is just a one off cameo from her, she's far from a background character and her awkward flirting with Eric when she says goodbye is fantastic. Having Eric's mother as a central, driving character is an interesting choice too, since the film makes it far from obvious as to whether or not his parents were alive at all. I do think her scolding of Eric was maybe slightly too over the top, but you've got plenty of intrigue with her going off alone by the end of the chapter. It does seem to me that you're hinting that this will possibly be her last appearance, which will further galvanize Eric's story - however unenthusiastic he is about the princesses' he meets, if he is about to ascend the throne in his own right, a wife really isn't an option so much as a requirement. It just seems to me that in general you've seeded a lot of dramatic possibilities here.

Of course, the main achievement, and focus, of this chapter is on drawing our first observations of Eric's character itself and you present us with a believable and fairly compelling take. His zest and passion for the sea comes across very strongly in a way that reinforces how perceptibly young he seems, but he never comes across as shallow. His inner rationale about how he's bored with meeting princesses and doesn't have any expectations of finding one interesting is well written, particularly when he starts to pay more sympathetic attention to Celeste. It's a nice touch on his finer feelings - he may be rejecting her out of hand, but it isn't out cruelty. He simply knows that he hasn't felt a spark, but he also doesn't blame her for it. I think it is through his perspective too that your good eye for visual detail comes across the most strongly, whether describing Max's behavior, Celeste's cosmetics and clothes, the sea and the ship, Grimsby's fussiness and more. Certainly he makes an enjoyable narrator and, as more strange or magical things happen in the story, I'd expect that his viewpoint will continue to be vital in getting that across (even if he can't be privy to the half of the story happening under the sea).

Worth further comment: In general, Eric's inner monologue about "number four and number six" etc. is hilarious, as is the young sailor telling him exactly what his amorous reputation is at the end. In general you pull of the delicate trick of showing a young guy who maybe has a lot of easy charm, like he can actually talk to girls when he wants to, but he doesn't have much practical experience or interest in doing so for its own sake. His crack at Celeste's hair net is a perfect example of this. Finally, one of the things I really like about opening the story in this "pre movie" moment, besides filling out the world now, is that it suggests that part of Eric's character arc in this book will be his experiences of learning from the various women who show interest in him (Ariel presumably being paramount there), but also about himself. It suggests to me a more unique interpretation of his character moving forward from the girls he may like well enough, without caring about, like Celeste, to someone like Ariel who can capture his attention and ultimately his heart, to his odd pseudo relationship with "Vanessa," his apparent bride for a day. One way of looking at that is that Celeste is an example of someone where there simply isn't a romantic connection of any kind, Ariel presents the whole package of affection, interest, attraction and so on, and "Vanessa" represents the public facade of being in a couple with the emphasis squarely on a more overt sexuality as the important part of romantic connection. Now, obviously I know that that's looking far too forward in the story, and that I am, in effect, getting ahead of myself by speculating on it; particularly given that the convention most often followed is that by the point "Vanessa" comes along, Eric is so completely hypnotized that he just doesn't know what's happening at all... but I can see the beginning of what could be a more interesting approach to the dramatic potential there too. After all, Eric as an unconscious robot would be rather dull, and again as with the possibility I mentioned about his mother, I think I can detect a hint here that you'd want to use his experiences later on in the most interesting way, consistent with your theme about "finding her," and the "Vanessa" sequences are certainly dramatic. Then again, you do guarantee to us that there will be some difference from the original, so I certainly can't say I know where this is going at all. And aside from all other speculation, I do like the way you end this chapter on a note that implies that the very next scene could be the opening scene from the movie, with all the right characters in the right place.

Certainly a compelling start all around and I shall be interested to read more, particularly to see if you open up the story a little more and to see what "fun" differences and depth you're going to add. That's the stuff that keeps this potentially unpredictable, and you obviously have a real respect for the source material. Thumbs up.