"Hey-- Hey." Gil quickly puts himself between two quarreling poster-bearers on the verge of a fist fight, prying them apart and scowling at first one, then the other. "What the hell is wrong with you?"
Once he's sure they're not going to go after each other immediately again, he bends to pick up a dropped flier. He stares at it a moment, feeling... something. He drops it just as fast and shakes his head, focusing again on the hooligans. "Pick opposite sides of the street if you need space that bad."
He stops several fights throughout the day, his annoyance growing along with the scale of the arguments. Does he stop your character mid-fight? Or does yours bail him out of a conflict that doesn't want to get resolved?
➥ Something Wicked This Way Comes - closed to Malcolm
Gil eyes the entrance to the carnival with misgivings. All this supernatural bullshit still makes him wildly uncomfortable. There's a part of him that demands he get used to it, having been through what he has already. Acclimate and get his shit together. There's work that needs doing, too much strangeness to go unaddressed.
Part of the problem is he has no idea how to investigate what he doesn't understand. He doesn't even know where to start looking.
He shakes himself out of the funk, mentally speaking, and looks at Malcolm. Who seems to be practically bouncing at the opportunity to scrutinize everything past the entryway. Gil tries not to smile. "Remember when I took you to Coney Island that one time?"
➥ Send In the Clowns - OTA
Gil and Malcolm meet and split up periodically, seeing what there is to see both together and alone. Gil does a double-take at the long-pig offering, and when it's not there his skin crawls faintly. He feels sick as a kid bites into a hot dog from the booth.
Eventually he finds his way to Asbestos Mike, standing far back enough that, hopefully, his horror isn't easily noted.
He can be found anywhere and everywhere around the circus.
➥ Lost & Found - closed to Malcolm....ish? The Final Rescue is his. People can catch him as he chases her tho!
A mother with claustrophobia grabs Gil as he's going by the funhouse, imploring him to walk her kid through it. Apparently he looks trustworthy, which should be a compliment, but he's not particularly enthusiastic about going inside.
Still, he says yes. He shepherds the over-enthusiastic, over-sugared kid through the annoying and disorienting attraction, frowning suspiciously at the plain old mirror when they get to the end. He releases the kid to his mom, smiles at her and says it was no trouble at all, and takes a half-step on his way. And nearly trips.
Jessica Whitly walks through the crowd in one of her irrationally expensive outfits, a look on her face that can't seem to decide if it's disdainful or disgusted.
"Jess!" Gil bolts after her without a second thought, losing her, finding her, getting steadily more disoriented as he goes. "Jess!"
Gil Arroyo || Prodigal Son
"Hey-- Hey." Gil quickly puts himself between two quarreling poster-bearers on the verge of a fist fight, prying them apart and scowling at first one, then the other. "What the hell is wrong with you?"
Once he's sure they're not going to go after each other immediately again, he bends to pick up a dropped flier. He stares at it a moment, feeling... something. He drops it just as fast and shakes his head, focusing again on the hooligans. "Pick opposite sides of the street if you need space that bad."
He stops several fights throughout the day, his annoyance growing along with the scale of the arguments. Does he stop your character mid-fight? Or does yours bail him out of a conflict that doesn't want to get resolved?
➥ Something Wicked This Way Comes - closed to Malcolm
Gil eyes the entrance to the carnival with misgivings. All this supernatural bullshit still makes him wildly uncomfortable. There's a part of him that demands he get used to it, having been through what he has already. Acclimate and get his shit together. There's work that needs doing, too much strangeness to go unaddressed.
Part of the problem is he has no idea how to investigate what he doesn't understand. He doesn't even know where to start looking.
He shakes himself out of the funk, mentally speaking, and looks at Malcolm. Who seems to be practically bouncing at the opportunity to scrutinize everything past the entryway. Gil tries not to smile. "Remember when I took you to Coney Island that one time?"
➥ Send In the Clowns - OTA
Gil and Malcolm meet and split up periodically, seeing what there is to see both together and alone. Gil does a double-take at the long-pig offering, and when it's not there his skin crawls faintly. He feels sick as a kid bites into a hot dog from the booth.
Eventually he finds his way to Asbestos Mike, standing far back enough that, hopefully, his horror isn't easily noted.
He can be found anywhere and everywhere around the circus.
➥ Lost & Found - closed to Malcolm....ish? The Final Rescue is his. People can catch him as he chases her tho!
A mother with claustrophobia grabs Gil as he's going by the funhouse, imploring him to walk her kid through it. Apparently he looks trustworthy, which should be a compliment, but he's not particularly enthusiastic about going inside.
Still, he says yes. He shepherds the over-enthusiastic, over-sugared kid through the annoying and disorienting attraction, frowning suspiciously at the plain old mirror when they get to the end. He releases the kid to his mom, smiles at her and says it was no trouble at all, and takes a half-step on his way. And nearly trips.
Jessica Whitly walks through the crowd in one of her irrationally expensive outfits, a look on her face that can't seem to decide if it's disdainful or disgusted.
"Jess!" Gil bolts after her without a second thought, losing her, finding her, getting steadily more disoriented as he goes. "Jess!"