This is the comment I made on Dabeagle's forum when the story completed there:
You handled the underlying concept perfectly, I think, by concentrating on the how the protagonist handled the two big challenges: how to change the perceptions of people who knew the old Drake, and more importantly, how to re-live his own early life better and more rewardingly than he had the first time around. You didn't get bogged down in the mechanics of alternate reality or in going into how the protagonist's old family might have fit into it, or if they even existed. Frankly the former would have bored me and the latter would have been an unnecessary distraction from the real story.
I'm glad you didn't ignore the novelty of such apparent maturity in such a young person but instead had characters directly address it by marveling at it as just that, a remarkable novelty. A whole sub-plot of suspicions of cosmic weirdness would have been another unnecessary distraction.
Characterizations were spot-on and interesting and I didn't feel as if any character was anything like a cardboard stereotype. Henry Burgess, the house director, could have become one, but even he eventually, grudgingly, accorded Drake a degree of respect. The closest to being a gay teenage fiction stereotype was Jeremy, but fleshing him out would have been another distraction. The rest of the supporting cast - especially Giles - were a delight.
The character I found most affecting in terms of raw empathy was James Murphy. His portrayal as a basically decent person whose lack of self-worth, bordering on self-loathing, subverts his every attempt to build relationships is heart-breaking. That in the end Drake isn't willing to give up on him I think is a real testament to “new” Drake's character.