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divey 5-6-2018 01:31 PM
Villiany like good or bad is a subjectivce term. As they say one man's revolutionary is other man' ...
It's not that there haven't been POV novels that talk about a certain villainy. "Vayam Rakshama" is a prime example of that. Aacharya Charursen wrote this novel back when myth-fic wasn't even a thing. His protagonist is Raavan in all his technical glory of knowledge and villainy. And people loved it because it never painted Raavan into being someone he was not. Or didn't belittle other characters because Raavan was in the centre stage. This is what a POV novel should be about.
If I really have to diss out Neelkantan, then his problem is that he tries to paint his protagonist a blinding shade of white and push the others into the pitch black. This is where he goes wrong. Mahabharat is all about sailing in the grey areas. Even the master villains have something worthwhile in them. This is what makes this book appealing even after some 5000 years. Neelkantan repeatedly painted the Pandavas as black, Draupadi as shrewd and didn't bother much with Duryodhan and Kauravas because he was going by the rule that if A is black then B will automatically turn white. It just left such a sour and bitter taste in the mouth.
Duryodhan is a prime example of complexity of a character. Even in the canon, he is somewhere between a deliberate villainy and vilified victim. There is a certain ambiguity in him. And certain deliberate evil. That is what made him interesting if not appealing. Neelkantan killed that very aspect that made people atleast take note if him. He just went ahead and made the Pandavas as some sort of lust fed masochist, thereby justifying even the most henious actions of the Dyutsabha. That was one reason why most of the readers called out to him.
Even Asura which I believe was his debut novel practically degraded every character and emotion just to make Raavan look "cool". As I said there has already been a book on Raavan that dealt with him in a brilliant manner. The argument of one man's revolutionary being other man's terrorist doesn't hold true for Indian Epics simply because they don't deal with stark contrasts. It's always grey. Add to this the narratives of both are well known and can be verified from thousand sources, so twisting the facts just to suit ones narrative isn't going to help matters. Neelkantan did precisely the same with his rendition. Instead of focusing on the protagonist he decides to belittle the deutragonist and justifying the former. Honestly this is where he lost it .
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