Writer Anand Neelankantan discusses ‘Chaturanga’, the second e book within the ‘Baahubali’ prequel trilogy, by which he traces the journeys of younger Sivagami and Kattappa
It’s almost unimaginable to not recall the photographs of actors Ramya Krishna and Sathyaraj from the Baahubali motion pictures whereas studying author Anand Neelankantan’s Chaturanga (revealed by Westland), the second e book within the prequel trilogy Baahubali: Earlier than the Starting.
The story takes off the place Guide 1, The Rise of Sivagami, ended. Younger Sivagami desires to avenge her father’s loss of life, and a younger Kattappa is at crossroads of serving the king and preserving his household honour. Chaturanga is a web page turner, drawing readers into Mahishmati that’s in the course of a political whirlwind.
Edited excerpts from an interview:
What made you select Sivagami for the trilogy?
Greyness in any character fascinates me. On this planet of Baahubali, the hero is sort of flawless and the villain is as darkish as coal. I discovered shades of gray in Sivagami and Kattappa; these characters which have layers are enjoyable to peel off. A girl who’s ruthless sufficient to order the assassination of her beloved ‘son’ and a slave who’s loyal sufficient to kill his beloved ‘nephew’ and ‘grasp’ are value writing about.
We see Kattappa and Sivagami as middle-aged individuals on display. Did that provide you with more freedom to develop their childhood and adolescence?
I needed to transfer away from the movie’s realm and but keep near it, as that is an official prequel. Adolescence is the interval that types character. What made Sivagami and Kattappa the personalities they’re within the movie… that’s what my story is about.
Within the movies, the chilly relationship that Sivagami shares with Bijjaladeva hints at an uneasy again story. Did author Vijayendra Prasad or director Rajamouli share this story with you?
They gave me full artistic freedom and didn’t intrude with my writing course of. I developed these characters’ adolescence and youth in the best way I noticed it acceptable.
Mahishmati is a fictitious kingdom in an undisclosed time interval. How did you identify the time for a trilogy that pre-dates this period?
Although the interval shouldn’t be specified within the movie, there are sufficient indications concerning the period. The center-eastern service provider who involves Kattappa with a sword, the structure of the units, social construction and the costumes speak concerning the interval. In my thoughts, I mounted it as Eighth-Century Deccan, and my analysis centred on that interval. In any other case it’s troublesome to orient the story world, which is important for such historic fiction.
In your e book, Mahishmati is darkish, vicious and has secrets and techniques to cover. How did you assemble this gloomy kingdom?
I wished to steer clear of an idealistic world. I don’t consider that it exists. I wished to carry out all of the glory and gory aspects of the medieval period. Within the novel, the dystopian world of Mahishmati is deliberate. It’s a reflection of our occasions too. It provides me the liberty to create fleshed-out characters with many layers and provides legitimate agendas for every character.
Inform us about your writing course of; how did you need to have interaction readers who would have picked up your e book primarily due to the movies?
My writing has all the time been visible. I’m a movie buff; although I learn lots, I devour stories more in a visible format. Even after I write stories, I consider digital camera angles, body setting, lighting, temper and the expressions of the character. The visible high quality of my writing gave me the chance to work with a number of the greatest movie administrators.
Additionally, this trilogy is quickly going to be a Netflix sequence and is a continuation of the Baahubali story. I consider a movie fan would don’t have any points in seeing a movie in her thoughts whereas studying the e book, as my writing fashion is more visible than poetic.
In Chaturanga, Sivagami is the lone lady in an administrative place and has a tricky time making her presence felt. Did you contemplate archetypes of girls in history whereas shaping her character?
I really like history. It’s so filled with lies, and it’s the weight-reduction plan of any fiction author. Sivagami is predicated on archetypes of girls who made a mark in history. From Draupadi to Cleopatra by way of Razia Sultana, Indira Gandhi and Jayalalithaa, there are numerous ladies who made it large within the ruthless world of males. Their stories fascinated me, and Sivagami has a slice of many of those historic characters in her.
Socio-political commentary, like how Somadeva and Bijjaladeva use faith/spirituality to divert consideration from the failings of the federal government appear modern…
Utilizing faith for energy is nothing new. Pop Spirituality is a glittering cloak worn by the power-hungry. The wedding of faith and energy is everlasting. So, no marvel after I point out it in my books, you are feeling it’s modern. Even after a thousand years, this relation between faith and politics will stay related.
When can we count on Guide 3?
I’ve completed 90% of Guide 3. I’m ready for some reader suggestions to wrap up the trilogy. I count on it to be out by December 2020.