Helping with Adventurer Party Management - Chapter 321

“Can adventurers paint pictures?” Deacon Michelino asks skeptically.

“Not right now, no,” I admit, agreeing with his doubt.

The majority of adventurers come from rural areas, drifting into cities after running out of options. Few, if any, have had the cultural or educational opportunities to learn how to paint.

“So, it’s a matter of training them. There’s no need for anything elaborate. As a sponsor, the church can simply offer appropriate rewards for good paintings, regardless of who creates them.”

“Kenji, are you so supportive of adventurers because you favor them?” Deacon Michelino asks pointedly.

“I won’t deny it,” I reply with a wry smile. “It seems I’m one of the few who do.” I continue, “But beyond that, adventurers have the most opportunities to encounter monsters and observe them closely. They also need accurate depictions of monsters more than anyone else. It only makes sense for adventurers to be the ones drawing these pictures.”

“Having an adventurer who is an expert on monsters create the illustrations does seem logical,” Deacon Michelino concedes.

“When I accompany the Baron, it becomes clear to me that most adventurers’ work happens in remote, dangerous areas—places where an ordinary painter couldn’t possibly go. Training an adventurer to paint is far more practical than trying to turn a painter into an adventurer. While it’s rare for an eccentric painter to take up adventuring, it’s not hard to imagine adventurers drawing in their spare time.”

“I see your point,” Deacon Michelino says thoughtfully. “But that’s just speculation for now.”

He is right to curb my enthusiasm.

For now, I shelve the idea of turning adventurers into full-fledged artists. Perhaps in the future, we can organize drawing workshops specifically for them.

But that is a discussion for another time.

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There is another matter I need Deacon Michelino’s cooperation on to ensure this project isn’t just a one-off.

“One more thing—I’d like the church’s support with the printing process.”

“What do you mean?” Deacon Michelino asks, his tone cautious.

Given how many bold ideas I’ve already proposed, his wariness is understandable. But this suggestion could benefit the church as much as it benefits us.

“We want to print details such as the monster’s name, behavior, and weaknesses alongside its picture. However, this information often changes and isn’t ideal for static printing.”

At this, Deacon Michelino, sharp as ever, seems to catch on to what I’m suggesting.

“I see where you’re going. Copying books is an important source of income for young clergy members. Many of them would welcome the chance to take on this work.”

“Exactly. We’ll handle the picture printing here, and the church can handle the written content.”

As I make my proposal, Sara shoots me a look I can only describe as annoyed, though Deacon Michelino’s reaction is more dramatic.

“So, you want to make the booklet a joint venture with the church! You’re really something!”

“So you want to turn this booklet into a joint venture with the church? Truly, Kenji, you are something else!” Deacon Michelino exclaims, his voice a mix of astonishment and resignation—perhaps for the tenth time that day.