If You Don’t Like Mysteries, You’ll Love Mr. Holmes


Although every effort has been made to prevent spoilers, anyone who has not yet seen the film Mr. Holmes (2015) or read the novel A Slight Trick of the Mind by Mitch Cullin is hereby advised that this post may contain a few unavoidable spoilers.

Last year, I was standing waiting for a bus when one passed by (not the one I was waiting for) with a poster on the side, advertising a new film that was about to be released. The poster was plain white apart from a very well dressed and sour faced Ian McKellen. The title of the film was Mr. Holmes.

‘Oh, a new Sherlock Holmes film.’ I thought, my interest piqued. ‘I must remember to make time to go and see that.’

Suffice it to say I did not remember and, whether it was because of my own poor fortune or because the film was inadequately publicised, I did not see hide nor hair of that film again until this very year when I was perusing Amazon for something to watch and it recommended this little gem to me. The reviews on Amazon were generally good but there were also enough negative reviews to give me doubts. However, being a big fan of Sherlock Holmes and knowing that Ian McKellen’s acting is always a joy to watch (no matter how bad the rest of the film is) I decided to give it a chance.

In this film, Sherlock Holmes is now in his nineties and is struggling with his failing memory. He has long since retired to a farmhouse in Sussex where he lives in relative solitude apart from his housekeeper, her son and the bees he now keeps. Because of his failing memory, he cannot precisely remember how his last case as a private detective ended; however, he is certain that the now deceased Watson’s novelisation of it cannot be correct because it portrays Sherlock as having solved the case triumphantly, as he always does. Sherlock cannot accept that he would have retired except after a terrible failure, and so, with the encouragement of his housekeeper’s son and consumed with guilt over something he cannot fully recall, he tries to write the story of the case as it truly happened. Meanwhile, his housekeeper is growing increasingly restless with her role as Sherlock’s housekeeper-come-nurse and resolves to move to Portsmouth with her son, who has grown very attached to Sherlock. There is also a sub-plot concerning a Japanese man who lures Sherlock to Japan in order to confront him about the disappearance of his father, for which he blames Sherlock.

If you’re looking for a ‘who dunnit’ or another exciting instalment of The Adventures of Sherlock Holmes, you’ve come to the wrong place. Sherlock goes on no adventure in this story, nor is there a particularly mystery to be solved (unless you count his attempt to remember what he has forgotten). Unlike more traditional Sherlock Holmes stories, Mr. Holmes is gently paced and driven by its key themes: regret, ageing, death and senility. I know that probably makes it sound like quite a miserable film, but in reality I found this film to be surprisingly light-hearted and sweetened with a light dusting of humour and sentimentality.

This film is particularly concerned with giving us a glimpse at the real Sherlock Holmes, as opposed to the ‘character out of a pantomime’ he feels he has become through the novelisations and dramatisations of his various cases. Indeed, Sherlock himself appears keen to distance himself from that character. For example, there is a reference at one point to the fact he does not have his deerstalker or pipe. The reason for this, he claims, is that the deerstalker was a mere embellishment and that he prefers a cigar to a pipe; especially now that the pipe has become nothing more than a ‘prop’. It is also revealed to us that 221B Baker Street was, in fact, not his actual address but a deliberate attempt to mislead fans and tourists who were intent on visiting him.

As well as his obvious trademarks, his own personality is also very different from the character we are used to. The writers (and, I should add, McKellen himself) have done a fantastic job here of showing us the other side of Sherlock, without making him a different person altogether. His paternal feelings towards his housekeeper’s son, for example, seem to be a far cry from the cold hearted mystery solving machine that we are all so familiar with. In spite of this, he still retains his uncanny ability to tell everything a person has done simply by looking at them and his philosophy that the truth will always be uncovered by careful analysis of the facts. While he does retain a certain bluntness and an apparent cold heartedness, this seems to be little more than veneer (a thin one at that) which he uses to distance himself from difficult feelings. His warmth towards his housekeeper’s son, the empathy he shows towards his client’s wife and his regret over her death and the deaths of his friends make him seem altogether more human.

His attitudes towards death strikes me as particularly important. He approaches his own looming demise with an apparent nonchalance and claims never to have mourned the dead – bearing in mind that this is set after the death of John Watson, Mycroft Holmes and Mrs Hudson, all of whom were key figures in Sherlock’s life.

I can’t say that I’ve ever mourned the dead, bees or otherwise. I concentrate on circumstances. How did it die? Who was responsible? Death, grieving, mourning; they’re all commonplace. Logic is rare (Mr. Holmes 2015).

This air of indifference is typical of the traditional Sherlock; in Mr. Holmes, however, it sounds quite hollow. The fact that he was powerless to prevent his client’s wife from killing herself, despite recognising all the facts, has affected him deeply – to such an extent that it drove him to retirement. He also regrets that, after breaking off contact with Watson, he never had a chance to say goodbye to him before he died. When his housekeeper’s son is nearly killed by a swarm of wasps, he sees all the evidence of what has happened and, uncharacteristically, assumes it must have been his bees that were to blame (at least at first) rather than notice that the evidence clearly implicates a nearby nest of wasps. While most of us might consider this a normal reaction to finding a boy lying bruised and unconscious next to a hive of bees, it is rather atypical of Sherlock Holmes. The film also ends with him setting up memorial stones for everyone he has lost (or at least, everyone we have heard of anyway)

All in all, this is a enjoyable and easy to watch film but I would certainly caution any lifelong Sherlock Holmes fan that Mr. Holmes is best enjoyed if you approach it with absolutely no preconceptions about what a Sherlock Holmes film should be. It is a very good piece of cinema but it is not a typical Sherlock Holmes film by any stretch of the imagination, nor does it try to be. It’s not a mystery. It’s not an adventure. It’s a drama and a pretty decent one at that. Approach it as such and you will probably come away satisfied.

Ink and Pixel: A Sibling Rivalry

Which do you prefer: traditional paper books or e-books? Perhaps you are a traditionalist who feels the magic of a good novel is somehow missing in an e-book, or perhaps you prefer the space efficiency of an entire library which (almost) fits in your pocket. On the other hand, you might share my tendency to read both without guilt or shame, recognising the unique joy of each one. Whatever your position, it won’t take you more than a casual search of the internet to discover that there are more people out there who share or oppose your point of view than you can shake a stick at – and some of them get pretty passionate about the whole thing.

Anyone who is an advocate of the traditional paper book will tell you that there is more to reading than simply consuming words. Reading a book is a whole experience in and of itself. The book which has not yet been read is neat, tidy and clean with a mild but intoxicating smell about its pages. There’s a delicate and almost virginal quality to an unopened book. Once it has been opened, its spine will never be quite that smooth again, its pages will never fully shut as neatly as they once did; yet it will bring you a lifetime of joy, if only you treat it like a lady (don’t go breaking its spine or using it as a coaster; ladies just hate it when you do that and so will your book). To the lover of paper books, the book is an almost sacred thing. Treat it properly and your future readings will be every bit as rewarding as the first.

Paper books also have the added perk of being undeleteable and pass-onable. A paper book is yours forever; even if the internet disappears, the electricity cuts out and you are forced to spend eternity in a cave, you can still read your book again and again (assuming you have a lifetime supply of candles). When you die, it can be passed on to your relatives with all the other items you care about (nobody wants to inherit an e-book reader you bought fifty years ago and there’s a bit of a question mark hanging over if and how your non-physical possessions can possibly be passed on). On a less morbid note, you can easily buy lots of books and wrap them up nicely and give them to me for my birthday. I received no less than eight books on my last birthday (my family know me well) but no one has ever given me an e-book as a gift. I’m not even sure if it’s possible(?).

Unlike paper, e-books really are just a collection of digitised words and that may mean that it cheapens the overall experience of reading for some. E-books are brutally efficient. You don’t get the sacred pleasure of entering the bookshop or library where you are surrounded on every side by an endless myriad of tomes to numerous to count; you don’t get that new book smell when you first open it; you don’t get to give it pride of place on your bookshelf like a trophy when you finally finish it; you can’t wrap it up and one must wonder if it was ever truly yours to begin with.

On the other hand, the more pragmatic reader might argue that with e-books, you get to carry the whole bookshop with you wherever you go; that while an e-book may lack the new book smell, it is also not likely to develop that fusty old book smell and that it is more space efficient not to clutter up your whole room with bookshelves (just ask my wife!). Books, they might argue, are nothing more than a convenient way to record a story but it is the story itself – not the smell of the paper or any other such nonsense – that really matters. Why, then, attach so much ritual to something as simple as consuming a story? It’s only a book! You don’t need to court it, marry it or pick out curtains with it! Just download the text, enjoy it and move on!

Another perk e-books have over their paper counterparts is that they’re often cheaper (most of the time anyway), assuming that you read enough of them to make it worthwhile forking out a hundred or so quid for an e-book reader. In that sense, value for money is somewhat relative to how many e-books you download and how often you actually read them. On top of that, there are plenty of e-books out there that are completely free if you have the patience to hunt for them and the wisdom to sift the wheat from the chaff. On the plus side, if you do accidentally download a really bad free e-book, at least you’re not going to be out of pocket. It’s easy to abandon an e-book you hate without guilt or remorse.

Personally, I’ve been able to find a place for both in my life. I am the proud owner of a Kindle Keyboard (which was very high-tech when I got it but is now starting to show its age) and the equally proud owner of more paperbacks and hardbacks than I care to count. I don’t know about you but I read for the story, not for the binding (or lack thereof). The convenience of the e-book or the familiar comforts of the paper book are both perks to be enjoyed, but neither matter as much as being stimulated intellectually or emotionally by a good story (that’s why I don’t like audio-books incidentally; it whizzes past too quickly and I like time to chew over the words I’m reading but that’s just me). Considering that e-books are a relatively new phenomenon, I can’t help thinking that this sibling rivalry between paper books and e-books is already getting really old.

To be honest, I don’t really care how a book gets presented to me. I just love reading.

The (Im)Perfect Protagonist

Since we talked about creating the perfect bad guy last week, I thought it seemed only meet that we should have a think about the character who (some might say) is the most important in any story: the protagonist.

Traditionally, the protagonist is the ‘hero’ and the ‘good guy’. Indiana Jones, Miss Marple, Romeo, Luke Skywalker, Sherlock Holmes, Matilda, Harry Potter, Jane Eyre, Frodo Baggins, The Doctor and James Bond are just some examples of famous protagonists who defeat the bad guy, save the day, get the girl (or boy!) and generally overcome whatever obstacles the author feels like putting between them and their ultimate goal. Some stories, like A Song of Ice and Fire, follow the adventures of multiple protagonists at once. In many respects, this is slightly truer to life than the tradition of having only one protagonist, since there are no true protagonists in life (though we might all feel like we ourselves are the protagonist!) but it also makes for a far more complicated story. There’s nothing wrong with that, but it’s something to bear in mind if you want to go down the route of interweaving the lives of multiple protagonists!

Whether you want to create one protagonist or one million, one of the first things you would be wise to do is to shelf any notions you might have about the protagonist being the ‘good guy’. Unless you’re writing a morality play, all of your characters ought to be a little bit flawed – including your hero. In fact, it’s all the more important that your protagonist is a little flawed (even in a morality play), because your reader absolutely must be able to sympathise with them so that they can come to care about what happens to them. For example, John Bunyan’s The Pilgrim’s Progress has a lot in common with a morality play in that it’s a highly allegorical work of religious fiction following the journey of a man called Christian making his way from the City of Destruction (this world) to Celestial City (heaven). One might expect the hero of such a work to be insufferably righteous but he is not. He is constantly waylaid, tricked and misled by various obstacles and antagonists such as the Slough of Despond, Mr Worldly Wiseman and the Giant of Despair who imprisons him in Doubting Castle. The reason Christian works as a character is because, despite his good intentions, he represents human frailty and fallibility. Bunyan’s intended audience can relate to this character. Therefore, they care about what happens to him because if he can achieve his goal despite his flaws, there is hope that the reader will also achieve their own goals in life. This goes for all stories, regardless of whether or not they have a religious or ethical moral like in The Pilgrim’s Progress.

Like your antagonist, your protagonist needs a goal; something he is trying to achieve. There is no point in creating a protagonist the reader can relate to if that character doesn’t have some goal that both he and the reader badly want him to achieve.  More than any other character, the protagonist’s goal will be the beating heart of your story. If Frodo had just went out for wander instead of specifically trying to get to Mordor to destroy the ring, there would have been no story. Even silly stories, such as Mr Bean’s Holiday are absolutely defined by the protagonist’s single-minded and relentless urge to make it to the beach. Without a goal and a few obstacles which stand in between your protagonist and the goal, there is not much of a story, no matter how interesting and lifelike your protagonist is. If Sherlock Holmes had just pottered about using his gift to impress the other characters by telling them what they all had for their breakfast a week ago, he would not have become one of the most iconic characters in the history of mystery fiction. Sherlock Holmes needs a mystery to solve or the reader will lose interest in him (in fact, many of the Sherlock Holmes stories open with Holmes despairing of how boring his life becomes when he is between mysteries). Even if you take the interesting step of making your protagonist the bad guy (always good fun), he still needs a goal, though you might want to think twice before allowing him to fully achieve it. It’s probably better that he either dies in the attempt or else learns the error of his ways and repents, but that’s just my opinion.

Intricately tied into the protagonist’s goals are his obstacles. What’s stopping him achieving his goal? Perhaps another character in particular opposes his goals (that’s your antagonist, by the way) and is actively trying to hinder him. For example, in The Count of Monte Christo, the protagonist hopes to marry a particular woman and is opposed by a rival for her affections. This forms the basis for the whole plot. In Star Trek: Voyager, the protagonists are trying to make the impossibly long 70,000 light-year journey back to Earth. No one antagonist directly opposes this goal, but the sheer distance they have to travel makes it seem impossible for them to get home. Your protagonist’s obstacles might even take the form of internal conflicts, such as disease, self-doubt or cowardice. Indeed, you would be quite wise to include a few internal conflicts to give your protagonist a bit of believability. A protagonist who is brave, selfless, confident and strong can quickly become two-dimensional, no matter what his goals are and who opposes him.

I’ve got be honest, I find protagonists some of the most difficult characters to create. I also tend to find them less compelling than the antagonist in a lot of stories. Let’s be honest: Darth Vader is cooler than Luke Skywalker. There’s something really fun about booing and hissing at the bad guy, but no one wants him to win. It’s the protagonist we always hope and expect will win, because he or she is the one we have been following the most closely and have come to care about. Therefore, the perfect protagonist will be imperfect so we can relate to him, with good intentions that we hope he will eventually realise and a few demons to overcome. Who cares that Darth Vader is cooler than Luke Skywalker? We never truly relate to Vader or believe in his goals. We do relate to Skywalker and his goals in a way which means we will always be rooting for the good guy to win.

The Perfect Antagonist

For me, the antagonist – what we might loosely call ‘the bad guy’ – can make or break an otherwise good story. He is the living and breathing incarnation of the obstacle your protagonist (or ‘hero’, if you insist) needs to overcome. It’s also a good opportunity for the author to create a character who ticks differently from any of the ‘good guys’ and (depending on your genre) you can really let your imagination run wild when it comes to his physical attributes.

Of course, a good author (or even philosopher) will tell you that the good guy doesn’t necessarily wear shining white armour and the bad guy doesn’t necessarily have a swishing black cape… but these conventions do exist for a reason. Just try and imagine what Star Wars would have looked like if Darth Vader had been the hero and Luke Skywalker had been the villain. Picture the scene in your minds eye, if you can: Darth Vader, hanging over a sheer drop and Luke Skywalker standing over him triumphantly:

Skywalker: Obi-Wan never told you what happened to your father.
Vader: *heavy breathing* He told me enough; he told me you killed him.
Skywalker: No. I am your father.
Vader: No! No! *heavy breathing* It’s not true! That’s impossible!
Skywalker: Search your feelings! You know it to be true!
Vader: Noooo, noooo! *hyperventilating*

See? Ridiculous.

On the other hand, that doesn’t necessarily mean your antagonist should be swishing around in a black cape. What you want is something distinctive that makes your antagonist really stand out. I don’t mean to keep rabbiting on about Star Wars, but before I saw Star Wars: The Force Awakens, I had a gnawing anxiety that no matter how cool the bad guy was, he would never live up to Darth Vader. When I finally saw it, what I got was an antagonist (Kylo Ren) who wore a cape and a mask similar to Darth Vader’s and who used the dark side of the Force like Darth Vader but apart from that, he spent most of the film throwing hissy fits because he wasn’t nearly as good at being bad as Darth Vader was. He wasn’t cool; he was pathetic. One can’t help but wonder if the writer of this film created Kylo Ren as an expression of his own frustrations at the impossible task he had of creating a villain worthy of Darth Vader. Don’t get me wrong, I enjoyed The Force Awakens, but I think Kylo Ren would have lived up to Darth Vader far better if he had simply not been anything like him.

The most tragic thing about it all is that most of Kylo Ren’s problems were simply cosmetic. Darth Vader was a Jedi who was seduced by the dark side, but Kylo Ren is introduced to us as an antagonist who is drawn to the ‘light’ side. That sounds like the makings of a bad guy who really does stand out from Darth Vader and the Sith. It was little things like the black cape, the shiny mask and the red lightsaber (okay, it was a funky shape, big woop) that made him look like a Darth Vader wannabe. The fact that he really did wish he was Darth Vader didn’t help matters. Personally, I think he would have been a much more compelling antagonist if he had been wearing a bit more colour, no cape, no shiny mask and (dare I say it?) no lightsaber – and definitely no scenes where he is compared to Darth Vader.

Moving on from Star Wars and the outward appearance of the antagonist, another important thing all bad guys must have is a motive for their actions. If you read my Valentines Day’s post about creating a love interest, you may recall how much I underlined the importance of your love interest being a character in their own right, with their own egos, agendas, desires, fears and motives. They are not just there to swoon after the hero. In the same way, your antagonist must be a person in his or her own right. They must have their own beliefs, their own hopes, their own ambitions and their own reason to get up in the morning apart from simply annoying the protagonist. The only real difference with an antagonist is that you might feel a little bit safer in exploring darker motives for doing things, but even then, watch out! Don’t turn them into the sort of bad guy who cackles about how magnificently devious they are and don’t make them bad just for the sake of being bad. Even if they’re mad in some way, there must be something which motivates them; a fear, a desire or a goal of some kind. In the 1993 film, Falling Down, Michael Douglas played a character who had a mental breakdown while stuck in traffic on his way to his daughter’s birthday party at the home of his ex-wife. There’s no denying that his character has flipped. He spends most of the film smashing up various people and places but behind it all, he still has a goal (‘I’m going home!’) and a motive behind his violent outbursts (frustration at the problems, flaws and injustices of every day life). Thus he remains a character in his own right; his existence is not defined by the hero or anyone else.

Your antagonist can be motivated by almost anything. They can be power hungry, racist, misogynistic, greedy, paranoid, psychotic or (better still!) they can even be driven by seemingly noble motives. In the Star Trek franchise, for example, the Maquis are depicted as a group of terrorists but they are motivated by a desire to drive out what they see as alien invaders from certain human colonies. Indeed, even the ‘good guys’ in Star Trek often appear to sympathise with the Maquis’ cause – but ultimately, they oppose them. Having an antagonist who has good intentions can often make for a much more compelling character and it adds substance to your plot. Whatever their motives and however you decide to dress them up, the two most important things you can do with your antagonist is make them unique and make sure they are a fully fledged character in their own right. Give them all the shades of grey that we find in every character and try to avoid clichés. Having said that, I don’t care how cool your bad guy is and I don’t care how much I sympathise with his feelings or his motives…

The bad guy should never, ever, ever win.

A Fanciful Tale of Heroes and Call Centres

It’s been a while since I posted one of my own humble stories, so I’ve quickly knocked together this little bit of nonsense for your enjoyment. Unlike a lot of the stories I’ve published on the site before, this is not a rejected competition entry. I wrote it for no purpose other than to amuse myself and hopefully, dear reader, to amuse you as well. I suppose it’s best described as a fantasy (since it features heroes guilds and all that kind of stuff) but it also draws heavily on some of my own less fantastic experiences. It also happens to be a little experiment in writing a story using minimal narration; it’s almost entirely dialogue. As ever, this story is entirely my own work and has never been published anywhere else, whether online or in print. I hope you enjoy it.


I Need A Hero

by Andrew Ferguson


Brrp, brrp.

Brrp, brrp.

‘Good afternoon, you are through to the Free National Heroes Service. My name is Colin, how may I help you?’

‘Yes, good morning, I’d like to book a knight please, for three o’clock tomorrow.’

‘Oook, if you just give me a minute I’ll take some details off you…’


‘Now you do understand I can’t guarantee it’ll be a knight because—’

‘Why not?’

‘Well you see—’

‘It really needs to be a knight, I always get one. If you check your records you’ll see, I always get a knight.’

‘Oook… well, let me just take your details then and I’ll have a look for you, OK? What’s your name please?’

‘Shona Forrester.’

‘And your date of birth?’

‘Age of Esfin, 03, 36.’

‘Aaaand your address?’

‘0/1 1236 Esclimber Way’

‘That’s great, thanks. Oook, you don’t seeeeem to be registered on our system just now but that’s OK, I’ll just add you on—’

‘Sorry, what do you mean I’m not registered? I’ve had heroes out here loads of times and I’ve always got a knight. It’s never been a problem before. Has it all changed now?’

‘No, madam, as I tried to explain before, we’ve only ever had three categories of hero available. You can have a warrior, a mage or a ranger. And you’re definitely not on our system either, but that’s no problem, I’ve just added you on now.’

‘Oh! So I can’t have a knight then?’

‘I’m afraid it’s out of my hands madam, the best I can do is put you down for a warrior and I’ll put it in your notes that you wanted a knight. That way Control will see that on their screens when they come to allocate heroes and will do what they can to accommodate you.’

‘So I should still get a knight then?’

‘I really wouldn’t like to make any promises, madam, but the Controllers will do their very best if there’s one available. You will definitely be able to get a warrior but that’s all I can say for certain until you’re assigned a hero in the morning.’

‘It’s never been a problem getting a knight before but right, whatever… well, OK. Can I go now?’

‘Nooo, not quite yet, I still need to take a few details off you first if you don’t mind. Now was it AM or PM tomorrow you wanted this for?’

‘PM, three o’clock please.’

‘OK, now because we’ve only got so many warriors on at one time, I obviously can’t give you a cast iron guarantee that it’ll be exactly three o’clock. It just depends what’s available. Normally what we’d do is book you in for an AM or PM slot just now and you’ll be assigned a time by the Controllers depending on when there’s a warrior available. So I’ll put you down for PM and put it in your notes that you’d prefer it for three, is that OK?’

‘Well what time is he likely to arrive then?’

‘I honestly couldn’t say for sure, madam, that’s entirely down to Control, I’m afraid. An afternoon booking could be any time between twelve o’clock and half eight.’

‘OK, make it AM then.’

‘Are you sure that’s OK? That would be any time then between nine o’clock and twelve.’

‘It’ll have to be, it’s no use him coming at all if he’s any later than three, half three at the latest, so I’ll go with AM. Can you let me know roughly what time that’s likely to be? I’ll be at work in the morning so I’ll need to ask my neighbour to let him in.’

‘Like I already said madam, I’ve no way of knowing until you’ve been allocated a hero what time it’ll be, except that it’ll be in the morning between nine and twelve. I can get Control to give you a call once you’ve been allocated if you like?’

‘Fine, thank you.’

‘Nooo problem, now I just need to check your eligibility to use this service—’

‘Why do you need to do that? I’ve had heroes out before, loads of times.’

‘I’m sorry madam, but there was definitely nothing at all on our system for you. Are you sure you didn’t use a private guild last time?’

‘No, I’ve always dialled this number. There must be something wrong with your system.’

‘Mmm, maybe but I need to check your eligibility anyway or my system won’t let me make the booking. Is that OK?’

‘How long do you think he’ll be anyway? I mean, I need to know when he’ll be back from his quest so I can make sure there’s someone in. I’ll be at work till two.’

‘Well, that really depends. I was actually just about to ask you exactly why you need a hero. I mean, is there any one else who can go for you?’

‘What difference does that make?’

‘Well, you see even though this as a free service, we don’t receive any government or lottery funding so it’s really only those who are completely unable to go on the quests themselves that we can provide this service for.’


‘And there’s no way I could guess at how long your hero will take to complete his quest unless I know what it is. Also Control need to know in advance if he needs any special equipment; things like enchanted armour or really bulky things like rune stones or armoured horses might take a bit longer to arrange.’

‘Well, he won’t need any of that so there’s no problem.’

‘I’m sure there isn’t, but I need to ask you what his quest will be anyway or I can’t take your booking.’

‘I just need him to go to the supermarket for me. I need him to pick up some things for my son’s birthday and I can’t go ’cause I’ve got work!’

‘The supermarket?’

‘Yes. It’s never been a problem before today!’

‘I’m really sorry, you’ll need to go with a private guild for something like that.’


‘I am really sorry, but there’s nothing I can do. This is a free service and we don’t receive any government or lottery funding so we really can only provide this service for extremely dangerous or difficult quests and to those with a household income of less than twelve-thousand quil per year. Is there anything else I can help you with today?’



‘Bye then.’ Click. ‘Geeeeeez… Unbelievable!’

‘Let me guess,’ said Colin’s supervisor. ‘It’s young master Forrester’s birthday again?’


‘Hmph! That’ll be his fifth birthday this year then!’