Disney/Lucasfilm have announced the Jan. 2015 release of Strange Magic, an animated, musical retelling of Shakespeare’s A Midsummer Night’s Dream.
According to Disney/Lucasfilm’s official synopsis, the film will use “popular songs from the past six decades help tell the tale of a colorful cast of goblins, elves, fairies and imps, and their hilarious misadventures sparked by the battle over a powerful potion.”
Strange Magic is directed by Gary Rydstrom (Pixar’s short Lifted) and written by David Berenbaum (Elf) and Irene Mecchi (The Lion King, Brave). The voice cast includes Broadway favorites Alan Cumming, Kristin Chenoweth and Alfred Molina. The music is by Marius de Vries (Moulin Rouge).
Lyssa Chiavari is an author of speculative fiction for children and teens, including the upcoming FOURTH WORLD trilogy, a young adult sci-fi adventure set on Mars. She has also written several pieces of short fiction, and is the editor of PERCHANCE TO DREAM, a young adult collection of Shakespeare retellings. Lyssa lives with her family and way too many animals in the woods of Northwest Oregon, which suits her just fine; except it actually doesn’t rain there as much as you’ve been told, and she really could do with more rain, thanks.
Both of those sound awesome to me, but let’s get to our very first asexuals in writing feature interview!
What do you identify as?
I identify as asexual and gray-biromantic.
Who is asexual in your story and how do they identify?
My upcoming YA trilogy (the first book, Fourth World, is due to release this fall) is told in alternating perspective between a boy named Isaak, who’s one of the first generation of kids to be born on Mars after it’s colonized by people from Earth, and a girl named Nadin. One of Nadin’s major storylines across the three books is realizing that she is asexual—that it’s a thing, that she’s not broken, and that it’s normal for her to feel the way she does. Along the way, she forges a connection with Isaak, who is demisexual. Of course, there are lots of other adventures in store for them (it is Mars, after all), but it was important for me to include characters like myself, because representation of aces is so rare, especially in young adult fiction, where most people can only name one or two major examples.
Even though Fourth World is the one that deals most prominently with discovering one’s identity and asexuality as a label, most of my stories feature ace and/or aro characters and storylines. For example, I edited a YA anthology of Shakespeare adaptations called Perchance to Dream, which releases at the end of June, and my own story in the book, a retelling of The Tempest, includes a queerplatonic relationship between my two heroines. I have also written a few other short stories that are currently out on submission with ace protagonists. Being ace (and bi, and gray-romantic) is such a major part of my existence, and I decided awhile ago that I wanted to write what was true to myself, rather than just focusing on what other people expected. I feel like my writing has improved since, so I’m definitely happy with that choice.
What did you want to get right about your representation?
The most important thing to me is to write stories that feel “true” to me. Some of my stories, like Fourth World, include a “coming out” subplot; but most of them, the characters just are, and it’s totally fine for them and everyone else. I absolutely think that “coming out” stories are important, but it’s also beneficial to me to have stories where people are just themselves and it’s a thing that’s normal. I spent so much of my life thinking something was wrong with me. I think a lot of it could have been avoided if I’d seen more characters like myself in fiction, so that’s my goal in writing what I do.
Any other comments?
I just want to say thank you for running this blog and this series, and to everyone who’s reading and who is interested in asexual representation in fiction. Things have improved so much in the last ten years, when realizing I was ace was akin to a social death sentence and the only alternative was to shove myself back in the closet for a decade and pretend to be “like everyone else.” I never would have imagined, back then, that there would be resources like this and Asexual Artists, places where I could meet not just other aces, but other ace writers—I’ve even made a group of friends who all write sci-fi and fantasy, and we’re opening a blog soon where we talk about our experiences as aces and writers. I could never have dreamed that there’d be a world where asexual stories would be wanted. I just hope that our stories will help other aces feel comfortable in their skin and make people realize that we’re not robots or sideshow spectacles—we’re normal people, just like anyone else!
Perchance to Dream is set to release June 30th and Fourth World should be out in November. I know I’ll be eagerly waiting for them both and I hope you check them out too. Check out her website to learn more about Lyssa Chiavari or follow her on twitter and tumblr.
Publisher’s description: The
three fates—Riata, Cait, and Smertae—have always been guiding and
protecting Scotland unseen, indirectly controlling the line of kings
according to the old religion. When there is a disagreement in the
sisterhood, Riata and Smertae will use men as pawns, and Smertae will
direct Macbeth to a crown he was never meant to have.
and Trouble, a six-issue miniseries by writer
Mairghread Scott (Transformers
Prime: Beast Hunters,
and artists Kelly and Nichole Matthews is ambitious and literary in
its scope, a retelling of Shakespeare’s Macbeth
from the perspective of the play’s Three
plot device than fully-realized characters in the source material, the Three
Witches are given individual names—Riata, Cait, and Smertae—and
distinct personalities in this comic. Much of the first issue is
devoted to introducing their complicated relationships with each
other as well as hinting at their heretofore unseen, expanded role in
the events leading up to Macbeth’s ascension to the Scottish throne.
This approach serves the dual purpose of emphasizing their Nordic
inspiration—they are more akin to the
Norns of Norse mythology here than they are to Shakespeare’s passive seers—and giving the Three Witches depth and
and Nichole Matthews’ designs for the Three Witches complement Scott’s approach to the text. Instead of wizened old crones, Riata,
Cait, and Smertae are depicted as humanoid elementals (the zoom-in “special
effects” that show off the Witches’ powers to affect people and objects are especially
interesting). The art team does an equally skilled job in rendering
the comic’s non-supernatural characters: Offhand, the costumes and
props look period- and region-appropriate and characters can easily
be distinguished from each other. Also worth noting is how well the
Matthews duo renders horses and woodland animals—an underrated but
especially important skill when it comes to comics set in the medieval
period. A double-page spread depicting the battle between Macbeth’s
and Macdonwald’s forces is especially impressive, showcasing all the
strengths of the art team in a single, breathtaking image.
greatest feat the creative team has seemingly pulled off with this
first issue, however, is that despite the novelty of their treatment
they have not, as far as I can tell, contradicted any of the
fundamental elements of the play’s underlying theme of the perils of
unchecked power. But where that theme was originally applicable only
to the human cast, they’ve extended that theme to include the Three
and Trouble #1 hints at
the beginning of what should be a brilliantly executed reinterpretation of a
literary classic. Recommended.
Maria Lyon and Lily Boiten are their school’s ultimate power couple—even if no one knows it but them.
Only one thing stands between them and their perfect future: campus superstar Delilah Dufrey.
Golden child Delilah is a legend at the exclusive Acheron Academy, and the presumptive winner of the distinguished Cawdor Kingsley Prize. She runs the school, and if she chose, she could blow up Maria and Lily’s whole world with a pointed look, or a carefully placed word.
But what Delilah doesn’t know is that Lily and Maria are willing to do anything—absolutely anything—to make their dreams come true. And the first step is unseating Delilah for the Kingsley Prize. The full scholarship, awarded to Maria, will lock in her attendance at Stanford―and four more years in a shared dorm room with Lily.
Maria and Lily will stop at nothing to ensure their victory—including harnessing the dark power long rumored to be present on the former plantation that houses their school.
But when feuds turn to fatalities, and madness begins to blur the distinction between what’s real and what is imagined, the girls must decide where they draw the line.
From acclaimed author Robin Talley comes a Shakespeare-inspired story of revenge and redemption, where fair is foul, and foul is fair.
Review: This retelling of Macbeth changed my liiife. It’s my dream read. Shakespeare and murder and problematic faves and hauntings and
Maria (Macbeth) and Lily (the scheming Lady Macbeth) start on a path similar to the play - they are inspired to try to take down a competitor because of a prophecy told to them by a ghost (during a terrifying and amazing seance!).
From then on, it diverges a lot from the play based on the setting (a boarding school), the murder method (I’m going to leave this a surprise) and the characters (who are all SO COOL).
I honestly don’t want to say much more, because the joy is partly in working out how things are adapted from the play. It’s an incredibly nuanced reading experience, because you experience the confused mental breakdowns of all the characters through the prose. It’s so well crafted, I highlighted a line on every other page.
Lily is my now-and-forever favourite. She’s disabled, obsessed with achieving her goals, and completely unafraid of MURDER if it means helping her girlfriend. The bloodstained hands are so well done too.