Elliott looks lost - a tame bird uncaged to terrifying freedom.
He is like a sheet of paper, library-cultivated and suddenly
thrown to the winds and wilds of Cornwall. His build is good
Poddington stock, but the skin seems stretched over the strong
bones, and his walks on the moors has proven surprisingly futile
in giving him anything like a wholesome appearance. It /has/
managed to upset his dark locks thoroughly, though. Elliott has
nervous blue eyes, deeply set above the long nose that cuts like
a keel down his oblong face. Black splotches of soil (or ink?)
stain his bony fingers. He doesn,t say much, but when prompted
on subjects of his interest, he speaks in a surprisingly strong
voice, retaining the local vernacular slur even while expounding
on the Classical Arts.
Out-of-doors he wears a long, grey coat that has been patched
here and there. A scarf swells from the beneath the collar and
threatens to engulf him entirely. His black trousers seems threadbare
and not at all suited for the outdoors - they are part of a black
three-piece suit (made for durability rather than style). A scarf
or a cap adds a rustic touch. Overall, his appearance is somewhat
like a well-dressed scarecrow: Thin, wind-tossed and a little
lonely. Whatever the season, chances are he will look as if completely
out of his element - the whole concept of Nature, being foreign
to him. On occasion he rides a skittish, sepia gelding.
Elliott Banks is a brooding young man - plagued by thoughts
of lost opportunities and a bitterness towards his current situation.
Elliott was born at the dawn of the century as an afterthought
to his brother, Kenan, to Kenwyn and Margareth Banks, a well-to-do
farmers couple out Tewiff way. Childhood memories might have
become rose-tinted, but that is certainly how Elliott remembers
things. An older brother to protect him against any dangers,
loving parents, and a household including a farmhand and a servant
girl. Kenan was a pride to the Banks, and his diligence and protectiveness
gave Elliott the chance to pursue more leisurely interests -
like helping out in the productions of Magnusson College Company
Players,. A love of learning was ignited, and he sneaked out
frequently to the College.
The Great War
The War changed everything. In 1918 Kenan went to fight the Hun,
and within a year he was dead. Kenwyn didn,t trust Elliott to
run the farm, but he was still needed in the day to day work,
and he had to abandon his dreams of intellectualism. Pride felt
at the time of Kenan's noble end in the service of King and Country
soon turned sour - his absence was felt by all, and the heartache
killed his mother. Kenwyn withered and grew old soon after -
broken by his losses and claiming strange visitations. The last
few years have been hard on the Banks Farm - the buildings slowly
falling into disrepair, animals and land sold off to make it
salvageable following the War and recent years, bad weather.
Elliott's lust for learning didn,t die, but hard labour turned
it into a daily frustration.
Elliott spends his time working on the farm and caring for his
father -- daughters from neighbouring farms help out. What free
hours he can spare are spend walking - trying to come to terms
with Kenan's death; reading his books; and skulking near the
College. He feels guilty about Kenan's sacrifice on his behalf,
now that he is gone. He is also quietly angry at Kenwyn - but
at the same time beginning to understand how bereavement can
make one feel surrounded by shadows.
Elliott,s background has been revised slightly from the MUSH-version,
but the essence of the character remains. 'Trespassing' is a
short scene typical of shy, misunderstood Elliott.