Helping with Adventurer Party Management - Chapter 320

Reaching a conclusion isn’t easy.

“About that vested interest,” Deacon Michelino begins hesitantly. “I don’t quite understand. Why is it profitable to protect a painting? When someone buys a painting, it belongs to them, doesn’t it? Why would they pay a fee again? Could you explain it more clearly? I understand that you’re saying something important, Kenji-san, but I don’t think I can explain this to Father Nicolo.”

Deacon Michelino’s observation makes me realize I’ve gotten ahead of myself. Paintings previously delivered to the church and these copperplate prints are fundamentally different, and I need to start by explaining that distinction.

“About these copperplate prints,” I say, motioning to Sara. She hands me several sheets of parchment. “With this method, we can produce paintings of the same quality—whether ten copies or a hundred.”

I lay out several sheets of parchment, each bearing an identical, intricately detailed image of a demonic wolf painted by Baron Berthold.

“This is… astonishing. Not that I doubted it, but it’s magnificent,” Deacon Michelino says, his eyes fixed on the copies.

“Exactly. And that’s the issue,” I explain. “A regular painting is unique—there’s only one. But with these prints, we can make as many copies as we want with minimal effort. For example, I plan to produce a thousand copies of this particular print. You can see why its value can’t be treated the same as a traditional painting.”

Deacon Michelino nods, beginning to understand. But his doubts linger.

“I see your point. A single painting for a church has a clear, singular value. But forgive me for saying this—the Baron must be a wealthy man. Surely he’s not after the money, is he?”

“That’s correct. The Baron isn’t seeking payment for himself. As you can see from his signature, he’s pursuing recognition and honor.”

“In that case…” Deacon Michelino trails off, his thoughts clearly spinning.

When arguments become convoluted, it’s best to fall back on straightforward facts. I decide to shift my approach.

“Do you know how the Baron chose his subject matter?” I ask.

“Perhaps adventurers brought him the monster’s Legione?” Deacon Michelino guesses.

“No. The Baron personally hired adventurers, accompanied them outside the city, and observed the monster up close to create his painting. That’s why his work has such vivid detail and realism.”

“The head of the Baron family went outside the city with adventurers to hunt monsters?” Deacon Michelino exclaims, clearly stunned for the third time.

It seems today is one of those days where Deacon Michelino’s sense of normalcy is repeatedly shaken.

“Yes. They capture the monster alive so the Baron can study it in detail. I was there as well, so I can vouch for it.”

“That’s… unbelievable,” Deacon Michelino murmurs.

“This time, the task is relatively modest—focusing on goblins and wolves near a farming village. But next, the Baron plans to target a man-eating giant ogre.”

“A man-eating giant ogre? Are you serious? That’s reckless! No, wait—can that even be done?”

“It’s possible. The most skilled adventurers in the city are drafting a plan. We expect results within a few months.”

“The Sword Fangs Legion might pull it off… but even so, it’s far too dangerous,” Deacon Michelino says, shaking his head.

“I agree,” I say. “The Baron is an exceptional artist, but he’s still the head of a noble family. Accompanying such dangerous expeditions won’t always be feasible. That’s why we need to train another artist—someone who can take on this role. And I believe that task falls to adventurers.”