Evil Star‘s very own Fagin, the grungy old fella Sebastian, is one of my favourite characters in the book. He lives in ‘Ciudad de Veneno’ in the slums of Lima, ‘Poison Town’. He lets local street kids sleep on his floor in return for their earnings as thieves, shoe-shine boys and jugglers. His suit’s so old it’s falling off him, he’s unshaven, there’s an old cigar hanging off his lip and he has a drinking problem. And he’s a goodie!
Sebastian isn’t actually in the book for that long, but he commands all the scenes he’s in. By the time of his departure from the story, he’s travelled along his own little development arc and become a real hero with an emotional punch to his character. He really seems like a real human who stumbles into a narrative and then stumbles out again.
I based Sebastian on the actor Ricardo Montalbán. (Yes, he of wrathful ‘Kahn’ fame). I needed an aquiline patriarch with a Latino cast, and he fit the bill perfectly.
I had a good time drawing Sebastian, Matt and Pedro in the candle-lit dark of the tumble-down slum, it was great fun throwing all the shadows around the filthy surrounding built out of rubbish, wreathed in cheap cigar smoke.
Oh, and here’s a doodle from the back of a page of script of another one of the ‘five’ who have ‘the power’ in question in The Power of Five. Scarlett, the main character of the fourth novel, Necropolis. It’s shaded with a half-working water brush pen with ink dropped into the reservoir.
She won’t actually end up looking like this, but I like the spontaneity of these.
Next time: Parallel Dimensions!
And while I’m on, I thought I’d show these few pages from my ‘out and about’ sketchbook that’s always at my side in a manbag. I’ve been getting into using my Pentel FP10 Brushpen for sketching in dimly-lit pubs and gig venues, and I’ve been quite liking the results.
Since it’s heavy black ink instead of faint pencil you can actually see what you’re doing in the dim light, the bristles get marks down fast, and you can muck about with shapes and textures. Linework’s a bit tricky, but that’s why I’m using it, so that if I’m good at brush-wielding when I’m cramped in a corner somewhere of a hostelry after a drink or two, I’ll be able to turn on the same approach when I’m sitting bolt-upright in the daylight at the desk at home.
There’s an online archive of my wanderin’ sketchbooks up here if you haven’t seen them already.