Helping with Adventurer Party Management - Chapter 318

I have no objections to selling the technology.

However, to build a foundation of trust for the future, I need to clarify one important point.

“I don’t mind if you buy the technology, but I think it would be better to wait a little longer.”

Deacon Michelino, who has half-risen from his chair, shoots me a suspicious look. “What do you mean?”

As the head of the department managing the church’s seals, Deacon Michelino’s role also involves aspects of intellectual property management. He likely recognizes the value and importance of this technology, which is a form of intellectual property.

Understanding and discerning technology is an essential skill for someone in his position, which is why I need to ensure he grasps its characteristics properly.

“The technology we’re using doesn’t have any competitive advantages yet. Simply put, it’s easy to copy.”

However, Deacon Michelino replies with the sort of pragmatic perspective you’d expect from someone versed in law.

“But wouldn’t it be better if the church banned it, like they restricted shoes that bore the church’s emblem?”

I had anticipated he might bring up that example, and while I can understand his reasoning, brands and technology require different approaches.

While a brand can be protected through prohibition, technology thrives on competition and development.

“Yes, but the situation here is different. To explain, the monster print is created by scratching a flat copper plate with a steel tool, applying ink to the scratches, and then pressing it onto parchment under pressure.”

“A copper plate! I see… But is it okay to reveal such a technique so openly?”

“I’ll share one more secret: it takes an immense amount of force to press the ink from the scratches on the copper plate onto the parchment. It’s impossible for humans to do it manually. That’s why we use a wine-pressing tool.”

“Oh, wine! I’ve heard there are places in the southern regions of the church that produce wine. I’ve never seen it myself, but I know they use machines for pressing. I see, so the church could theoretically do this as well.”

Deacon Michelino’s eyes sparkle with excitement, and he looks ready to draft a report and authorize the purchase immediately.

“But this technique is still in its early stages. In other words, it has many flaws,” I caution.

Hearing the word flaws, Deacon Michelino’s expression clouds slightly. “What do you mean? What are the drawbacks?”

I nod and begin my explanation.

“First, as with all prints, the original and the printed version are reversed. For text, the left and right sides are flipped, which isn’t an issue for paintings but can be problematic for written material.”

“That’s just how it works. Anything else?”

He brushes aside the inversion issue, which is understandable—it’s a common limitation.

“For now, the Baron is the only one who can produce artwork at this level. We need to train artisans who can replicate this style, which relies on fine lines rather than color. With all due respect, I’ve heard that the church’s art studios focus on different techniques, emphasizing color and grandeur over intricate detail.”

“That’s true. I’m not an expert in painting techniques, but I can tell the works hanging in churches are painted differently.”

The shortage of skilled artisans isn’t something that can be solved overnight, and Deacon Michelino seems to hesitate at this point.

“There’s more,” I continue. “The Baron faces significant trouble and expense in creating this piece. Engraving a copper plate with a steel pen requires considerable effort and skill. Additionally, the tips of steel pens wear out quickly. The Baron has to work with skilled blacksmiths and sharpeners to prepare dozens of pens, which are used up, worn down, and sharpened repeatedly during the process.”

“I see, so it’s expensive and time-consuming. Training someone capable of doing that would also take time.”

It isn’t just the technique—it requires significant funding as well. This raises the question of who will bear the costs.

“Finally,” I say, moving to the last point, “there’s the issue of the pressing tool. This time, we use a wine press, but it’s challenging to apply even pressure with it. This limitation prevents us from creating larger prints. To address this, we may need to redesign the press, increase the number of screws, improve their placement, or even switch to metal parts—or explore a completely new method of applying pressure. At its current stage, the tool is still a prototype.”

Deacon Michelino falls silent, deep in thought as he processes everything.

For now, the conversation about selling the technology will have to wait.