The Crooked Man (1893)

The Crooked Man

The Crooked Man

Want to read this along with me? This essay is part of The Memoirs of Sherlock Holmes, published in 1894. I used the epub version found on Feedbooks.com.

Although this is another interesting case of a romantic triangle and another example of a Sherlockian “locked room” mystery, this story is better recognized for showing a different side of the post-marriage Holmes and Watson relationship. It’s been a long time (since “The Man with the Twisted Lip”) since we’ve seen Watson’s home, but for the second time, Holmes comes there to meet Watson.

This time, Holmes imposes himself (quite successfully) on Watson’s hospitality by arriving at a very late hour and making himself immediately at home. The fact that Watson doesn’t seem particularly put out by this is telling about both the nature of their friendship and Watson’s tolerance of Holmes’ strange habits. During this scene, however, Holmes makes a series of rapid-fire deductions almost immediately upon entering the Watson home, but there isn’t really a lot of reason for him to do so. Whether he’s doing it to keep Watson disoriented or because Holmes knows that such deductions generally delight and amaze Watson, either way I think he does it to defuse Watson’s frustration and the late hour in which Holmes imposes himself on his old friend. During the bombardment of deductions, though, Holmes teases Watson about “keeping him up,” and even takes a shot at his chronicler at the lack of “playing fair” in the previously documented cases:

“The same may be said, my dear fellow, for the effect of some of these little sketches of yours, which is entirely meretricious, depending as it does upon your retaining in your own hands some factors in the problem which are never imparted to the reader.”

The shot is probably Doyle expressing his frustration with writing the stories through the vehicle of Holmes. There are only three more stories after this one until (spoiler alert!) he attempts to kill off Holmes, and his reluctance to continue writing the stories shows through in the exchange between Holmes and Watson. On the other hand, the disconnect on whether Holmes has emotions or not – something that has come up time and again in different stories – takes another, more moderate turn. By degrees, Doyle has tried to reshape Holmes’ apparent emotionlessness into something that exists more on the surface instead of Holmes being utterly emotional or utterly emotionless, and he brings it up on two separate occasions in this story to drive home the point.

His eyes kindled and a slight flush sprang into his thin cheeks. For an instant only. When I glanced again his face had resumed that red-Indian composure which had made so many regard him as a machine rather than a man.

and

In spite of his capacity for concealing his emotions, I could easily see that Holmes was in a state of suppressed excitement…

Ultimately, Holmes asks for Watson’s help on the case, but Watson doesn’t really contribute much to the case. Sadly, this is the start of a slow slide from a sharp and talented Watson assisting a brilliant but flawed Holmes to Watson being just a chronicler to Holmes’ unerring genius.

There’s a brief mention of Holmes’ “Baker Street Boys,” the street urchins that work for him, although instead of Wiggins, we meet a new one: Simpson. (Sadly, this is also the last time we hear mention of the Irregulars in the canon, despite their well-entrenched status in the Holmes myth.) Holmes also displays his knowledge of the Bible at the end, even though Watson ranked Holmes’ knowledge of literature and philosophy to be “nil” in A Study in Scarlet.

Finally, another rant: Holmes never utters the phrase “Elementary, my dear Watson” at any point in the canon. None. It’s not there. However, this story contains an exchange that is probably the closest to it:

“I have the advantage of knowing your habits, my dear Watson,” said he….

“Excellent!” I cried.

“Elementary,” said he.

What I Learned from The Path

ThePath-Box

Continuing through my queue of games that I’ve learned from, here’s what I learned from playing The Path. (Special thanks to Link Hughes for buying a copy for me, even if he mocked me later for playing it.)

Before I dive into this, The Path is really one of those games you absolutely love or absolutely hate. I’m going to be upfront: I didn’t enjoy it. I know this game is quite the darling in the indie video game scene, and that’s awesome – I wish Tale of Tales the best of luck in continuing to make games that work for them and their audience. I’m not their audience, but as someone keenly interested in the design of games and other interactive media, I can and will play things I don’t like to learn from them. So if you’re gearing up to leave comments or send me emails telling me how I should have loved the game, save us both a lot of time: I don’t love it, and probably won’t no matter how much you tell me I should have.

“Artistic” should not trump “game,” nor should a game mean we don’t need to be artistic. Video games are still a young medium, and for the medium to grow and evolve, we need to explore more artistic expression in games. I’m not refuting that at all. However, an artistic expression that ignores the fact that this is an interactive medium is just as bad as a non-artistic expression that ignores that this is an interactive medium.

I had this frustration when I played the demo of The Graveyard. Sure, I got to move the main character around, and that led to some stuff happening, but really, I was just there. The game had its story to tell, and I was only the vehicle for the game to tell that story to me. While The Path is better about trying to embrace its game elements, it does them in such an ironic way that it almost feels ashamed to be a game.

And I get that, too. There’s a lot of baggage that comes with the word “game,” and in order to evolve, we have to move past that. But if we’re embarrassed about our chosen medium, then others will wonder why we’re embarrassed by it, and we won’t progress. And The Path feels like it really doesn’t want to be a game.

Old stories still have power. The conceit of The Path is a vague retelling of the story of Little Red Riding Hood. And it really works here – I was able to quickly get a lot of information through the symbols and language of the game, without a lot of prompting. Dog-like paw prints on the screen told me that maybe the Big Bad Wolf was coming, which was probably bad. A location called “Grandma’s House” immediately tells me that that’s probably where I need to ultimately go. This is something more visceral than a license or an adaptation – this is using the language of common myth and legends to communicate a staggering amount of information in a very concise space. This is something I would love to see more of, instead of endless windows and pop-ups.

Interface needs to balance storytelling and approachability. The interface of the game is… difficult. I was willing to accept a lot of difficulty for this experience, but at one point in the game, the character only takes one step if you hit the W key, and she does so very, very, very slowly. I spent five minutes hammering on W just to get to a building I could clearly see in front of me. I understood that the idea was that the walk to the house is meant to be difficult and painful, but the threshold from “communicating experience via gameplay” quickly moved from confusing to artistic to fucking irritating in short order.

The same is true for any style of game, I think. A role-playing game that is meant to be fast-paced and exciting shouldn’t have lumbering dice rolling or excessive record-keeping. A board game about exploration should have an expansive board and a feeling that every space has something meaningful to discover. I always look back to the original Deadlands as a great example of flavorful gameplay with using poker hands to cast magic spells – for a game about the Wild West with weird elements, it gets you right into the world through the act of gameplay. But when the flavorful gameplay interferes with the act of actually interfacing with the game, it’s a problem.

Unreliable narrators can work in games, but we haven’t found the right balance yet. The Path starts off with two rules, and if you follow them, you lose. It’s a bit of a shock, because we rely on games so much to communicate the concept and world of the experience to us. To realize that the game is not wrong or flawed but actively lying to you is extremely disorienting. It’s very similar to unreliable narrators in literature, and I think it’s one of the concepts that translates well from one medium to interactive media. But The Path lets you realize that it’s lying, and then just shrugs and keeps its mouth shut. You’re left with aimlessly exploring – which isn’t a bad design, but in this case a game with open exploration needs an even stronger interface than usual. I have another game with unreliable narration in my queue (The Void), so I’ll be able to see if this is a specific failing of The Path or if it’s a concept that’s still gelling in interactive media.

Gameplay doesn’t have to be comfortable to be entertaining. After I played this, I got into a couple of rants with (sympathetic) co-workers about it. As a horror writer, I understand that sometimes our entertainment can (and maybe even should) be uncomfortable. A good horror movie should make us squirm, and there are some great movies that I loved and will never watch again. Games cannot and should not be exempt from this. But “uncomfortable” does not mean “boring,” and I don’t think games as a whole have found that line yet – as designers, we still err on the side of “entertaining.”

All in all, I think The Path is an important game. I am glad it was made, and I think that people really interested in pushing the boundaries of video games should at least watch some videos of it or borrow a friend’s copy for a few hours. And like all important things, it invites divisive opinions and sparks complicated commentary. But at the end of the day, “important” is not the same thing as “good.”

What I Learned from Vampire: The Masquerade – Bloodlines

Vampire: The Masquerade - BloodlinesI haven’t done this in a long time, and the breakdown I did of “The Witcher” is one of the most-viewed pages on my site. So, I’ll start going through my Steam queue and catching up on these not-quite-reviews and not-quite-game-design-deconstructions.

Over the summer I played 25 hours of Vampire: The Masquerade – Bloodlines, and then briefly toyed with some of the game mods. Here’s what I learned from it.

Choice should be balanced. One of the things I remembered about the game when I first played it was that you could resolve problems in multiple ways, similar to games like Deus Ex. Different clans have different strengths and weaknesses, and implied that stealth and seduction were just as viable routes to resolving problems as combat.

Except that’s not true. After a while, there are parts of the game that just can’t be passed without resorting to combat. I played a Toreador with emphasis on Dexterity and Appearance (to shoot well and give me better dialog and feeding options), and when possible I tried to talk or stealth my way around obstacles. Yet, time and again, I found that the parts of the game that I had to replay over and over were areas where close combat was really my only option. Since I was playing the game primarily for study, I had to turn on god mode a couple of times just to get past particularly nasty combat areas. I never felt that the game really respected my choice to play differently.

Polish is key. Let’s be honest, here – Bloodlines is a game that is buggy as hell, even after a multitude of community patches. I can overlook a certain amount of graphic bugs and clipping and other bugs that just mess up the feel of the experience, but more than once the game would just… do stuff without me. Once I was feeding in a nightclub, and after I fed my gun went off. The blood doll I was feeding from died, the crowd scattered, and I had to evade the police, which resulted in a shoot-out in an alleyway and me hiding in a corner. All because the game thought I clicked the left mouse button when I really didn’t. It’s bad enough that the choices aren’t balanced, but to have choice taken away from me entirely was even more frustrating.

Emergent gameplay can be amazing. That being said, the ten minutes I spent dealing with the consequences of the botched feeding were probably some of the most fun I had with the game. I was yelling at the computer as I raced down alleyways, and I cowered in the shadows for minutes, praying for the little icon in the upper-right corner to change and let me know that the police had stopped looking for me. None of that experience was pre-constructed, but emerged from the systems of the game bouncing off of my actions (even if I wasn’t in control of all of them).

Repetition doesn’t make something interesting. I was somewhat interesting in the first “female vampire that uses her sexuality to feed” archetype. When I tripped over the third character like that, I got bored and annoyed. Looking back on the game months after I played it, the characters I remember most fondly were the ones I dealt with very sparingly, like the ghoul at the beginning bleeding on the couch and the graveyard caretaker. The characters that I didn’t have to run into time and again remained fresh and interesting to me.

The sum can be greater than the parts. Despite all my nitpicking above, the game is a hell of a lot of fun. It’s hard to point out what makes it fun, because when you deconstruct each part of the game, there are a lot of flaws. And yet, somehow, it doesn’t matter. Obviously I’m pretty biased toward a White Wolf Vampire game property, but even if it hadn’t been based on a property I knew, I think I still would have enjoyed this game. Somehow Bloodlines transcends all of its egregious flaws and turns into something special. At some point I plan to go back and play it through again with some community mods, which is something I don’t often do with long RPGs.

Edition Wars are Stupid

Belc, my human fighter in S&W

Since the start of 2009, I’ve been in one regular and one infrequent Dungeons & Dragons Fourth Edition game. During that time I’ve also run a short campaign of Mutant Future, and played in a game of Labyrinth Lord and Swords & Wizardry – all of which are various simulacrums of the very first edition of D&D. I played another game of Swords & Wizardry this past Friday, and aside from various observations of the merging of 1974 sensibilities with 2011 technology (just about everyone at the table used a tablet or a laptop to read the rulebook, for example)1, I realized something.

The so-called “edition wars” between D&D players, and indeed between 4e fans and the self-proclaimed “old-school renaissance” are utter bullshit.

We played a specific version of Swords & Wizardry, the “Complete” version put out by Frog God a couple months ago. I didn’t have it, but because I liked S&W, I bought the $10 PDF sight-unseen so I had it to play. I also have a printed version of the S&W White Box from Brave Halfling games, and I purchased the revised edition of Labyrinth Lord, so I’m putting money towards this old-school revival. At one point I also worked on notes for my own LL/S&W background. I’ve also dropped a fair bit of cash on D&D 4e and the new Gamma World stuff, and I’ve noodled around with ideas for a Masque of the Red Death-like conversion to 4e. The conclusion is pretty simple: I like both editions, and I like supporting both editions.

And it’s not just me. Every person I played with in the Swords & Wizardry game is in a regular D&D 4e game. Russell was the person who got me the S&W boxed set as a gift. Granted, I am using a statistical sample of “people in my office,” but I know the few times I’ve talked to my friends who weren’t aware of LL or S&W, they seemed at least interested to try it, even if they were playing 4e.

The reality is, the more you go to each end of the D&D experience, the more they become distinct. AD&D First Edition to D&D 3.5 are a spectrum of complex rules involving a middling amount of simulation and a middling amount of tactics, but at each end you have low simulation and tactics, and high simulation and tactics. Some times, I really like the idea of a very lean set of rules that get out of the way and let me craft the experience I envision with the other players, and other times I like the heroic feeling of my resources and tactics carrying the day against a cadre of villains.

What was most telling to me is where the two games are similar. I’m not talking about aesthetic similarities like the six core attributes on a 3-18 scale, or a numerical representation of hit points. There are more philosophical similarities. Specifically, 0e and 4e both approach the DM with the idea that it’s their world, and make it as easy as possible to let him “reskin” or reinterpret pieces of the game to suit their fantasy world. 0e does this by its sheer minimalism – you have to add texture to the game, and S&W Complete actually turns this into a feature and makes the game a little more reskinnable and toolkit-like to maximize this. Meanwhile, 4e builds this in as a feature and designs around it, so that the relative complexity of the rules give way to allow this reskinning and focus on acting as a well-oiled framework to practice your tactics in.

But even the differences aren’t bad. I like the ease of character creation and the implied fatality that 0e brings – there’s something interesting about taking a random creation and trying to make it work. It was one of the elements I liked in the most recent version of Gamma World, but I had envisioned that 0e was still unbalanced in this regard – certain builds are just better than others. And yet, for whatever reason S&W Complete showed me the truth – you don’t need characters with lots of stats above 13, because there isn’t a whole lot of difference between 13 and 18. Your weapon only does 1d4 (and indeed you might only have 1d4 hit points yourself), but each point of damage means something, and a +1 to damage is a massive thing. I really like the efficiency of that scale, even if I’m still terrified to make a magic-user.

Sadly, I don’t like participating on many D&D forums, because it inevitably breaks down into edition wars. The most inspirational D&D blog/community for me was, surprisingly, Playing D&D with Porn Stars. Zack takes an immensely DIY approach to his own games, combining AD&D with D&D 3.5 and whatever else seems cool to his own games. It does seem like he’s sliding a bit more towards old-school purity lately, but he’s pretty good about making design wank ultimately come back to something he can use at his table. But many other communities break down into edition wars, even if the editions have names now:

  • 0e: Swords & Wizardry, et al.
  • 1e: Labyrinth Lord, et al.
  • AD&D: OSRIC (a surprisingly small community, it seems).
  • D&D 3.0/3.5: Pathfinder.
  • D&D 4e.

It feels sometimes that each edition getting broken off and branded individually has made the conflict worse, although every pre-Pathfinder edition has come under the banner of the old-school Renaissance (but don’t be fooled – I’ve seen some flamewars of Labyrinth Lord vs. Swords and Wizardry that are blistering). But I’m not seeing a lot of people talking about taking all of these marvelous toolboxes and putting together the best experience for their players. And that’s a shame, because outside of the Internet, I’m seeing these editions co-exist quite peacefully.

  1. I’ll talk about using a table in gaming in the eventual review of the Galaxy Tab that I’ll do.

The Reigate Squires/The Reigate Puzzle (1893)

The Reigate Squires

The Reigate Squires

Want to read this along with me? This essay is part of The Memoirs of Sherlock Holmes, published in 1894. I used the epub version found on Feedbooks.com.

First, a bit of clarity. This story was originally published as “The Reigate Squire,” but was subsequently renamed as “The Reigate Squires” when collected into Memoirs. When it was published in America in Harper’s Weekly, however, it was changed to “The Reigate Puzzle,” and subsequent reprintings of the American Memoirs (including the version I’m reading from Feedbooks) retain the American title. I’m more familiar with the story under “Squires” rather than “Puzzle,” so that’s what I’ll defer to, even if the version I’m reading differs.

Prior to this story, we’ve had references to various apocryphal cases, but this is the first time in which the consequences of an undocumented case impacts a documented one – in this instance, Holmes becoming ill. To digress for a bit, this is what I consider to be the turning point in the apocryphal side of the Holmes canon. Thus far, the references have been scattered here and there, teasing indications of the life of Holmes outside of what we read. But with “The Reigate Squires,” I really felt that the world of Holmes and Watson came alive. The various ways to try and make Holmes and Watson seem like a part of the world have, in this story, gelled into them having a cohesive world of their own. Whether it reflects or ties into the world we understand (or, more accurately, the contemporary world of Doyle’s original audience), this story makes the narrative reality of Holmes and Watson feel less like a jumble of facts and dates to me, and more like an organic reality that I want to know more about and be a part of. Even when I stop reading the stories, in some part of my mind they still exist, solving crimes and thwarting villains that I will never see and know about.1

Some of this feeling of emotional reality comes out in how we learn more about Watson as he cares for Holmes. We meet Colonel Hayter, who is a former patient of Watson’s in Afghanistan. We find out that Watson cares deeply for Holmes, so much that he’s willing to butt heads with Holmes and admonish him not to take any new cases while he is recovering from his illness. Of course, Watson ultimately loses the battle of wills with Holmes, but his stubborn refusal to cave to Holmes’ ego and pouting shows another side of Watson’s support for his friend, and how he’s willing to go against Holmes himself to do what is best. Of course, in the end it is the mental puzzle that causes Holmes to recuperate, showing that Watson cares for Holmes far more than he understands Holmes, even though he tries:

“I don’t think you need alarm yourself,” said I. “I have usually found that there was method in his madness.”

“Some folks might say there was madness in his method,” muttered the Inspector.

There are some interesting juxtapositions of Holmes’ analytical skills with his showmanship. Twice Holmes uses his illness to make “mistakes” that progress the case, another indication of his acting skill. He also explicitly mentions his open presentation of his skills, mentioning that “it has always been my habit to hide none of my methods.” On the other hand, he tosses out that he made “twenty-three other deductions” which he glosses over, correctly assuming that his audience has no interest in the level of minutia they detail.2 It shows that Holmes is coming to terms with the necessity of combining his scientific methods with more popular interest in order to spread word of his methods (and, of course, his own career).

  1. Amusingly, as I talk about this story turns the corner from me getting frustrated with the organic nature of the canon to embracing it, this is also one of the few stories that provides a firm date for creating timelines – April 14, 1887. I also just now realized that April 14th is also my wedding anniversary, and I will never again be able to convince anyone that the date is anything but a coincidence.
  2. Or, as some more cynical Sherlockians have pointed out, he may have been lying just to make himself seem more impressive in his diminished state.

The Musgrave Ritual (1893)

The Musgrave Ritual

The Musgrave Ritual

Want to read this along with me? This essay is part of The Memoirs of Sherlock Holmes, published in 1894. I used the epub version found on Feedbooks.com.

Right after “The ‘Gloria Scott’,” we have another case in Holmes’ pre-Watson career.1 In my opinion, this one has far more flair and character than “The ‘Gloria Scott’.” Here we have some more exploration of Holmes’ early adult life, a good old-fashioned treasure hunt, some intrigue and romance, and there are more staples of the Holmes canon introduced here. In fact, this story is so iconic that the Baker Street Irregulars recite the actual ritual during their annual dinner, and T. S. Eliot paraphrased it in his play Murder in the Cathedral. This story is listed as one of Doyle’s favorites, and on reflection, it’s probably one of mine as well – a great, classic read.

Like the previous story, this one doesn’t feature Watson in a support role and has Holmes as the primary narrator. As such, we get another glimpse in Holmes’ methods from his own words:

“You know my methods in such cases, Watson. I put myself in the man’s place and, having first gauged his intelligence, I try to imagine how I should myself have proceeded under the same circumstances.”

Holmes also mentions more apocryphal cases (and failures), as well as some of the details of his college days. This actually leads to another interesting question of canon lore: what college did Holmes go to? Even though three stories now reference Holmes’ college days, none of them specify which college it was, although many Sherlockians, including William Baring-Gould, have narrowed the debate to being between Oxford and Cambridge. (I’m inclined against Cambridge, as he doesn’t seem to recognize or remark on anything when his cases take him to the Cambridge area, but I’ve seen evidence both ways.)

One of the things he may have studied “which might make me more efficient” was phrenology, the now outdated science of studying the measurements of the human head to determine behavioral characteristics. For example, in “The Blue Carbuncle,” Holmes mentions the size of the skull as an indication of intelligence. But many in Victorian England believed in phrenology. During “The Musgrave Ritual,” Reginald Musgrave described his intelligent butler, Brunton, as such:

“‘He was a well-grown, handsome man, with a splendid forehead….’”

In fact, Brunton is a quietly unrecognized contribution to literate. This is one of the stories in which the cliché of “the butler did it” originated, but it also plays to a second trope, that of the intelligent servant who outwits their employer. The second cliché is best seen (to a comedic extreme) in P. G. Wodehouse’s “Jeeves” stories and novels: Jeeves, an English valet, repeatedly develops elaborate schemes to get his master, Bertrum Wooster, out of an endless variety of social and romantic problems. But while this is probably the first detective story in which the butler is the culprit, there are actually surprisingly few mystery stories overall in which one of the servants is actually responsible for the crime. Many stories use the butler as a red herring, subverting the cliché early on in the 20th century, even though it persists to this day. The reason why these tropes were so strong at the time was due to the utter reliance that the upper and middle class had on their servants, and the notion that they might somehow be untrustworthy was terrifying. You can compare it our growing reliance on technology in the later part of the 20th century, and the subsequent rise in movies and stories that featured robots, machines, and other technology turning against humanity.

Aside from the contributions to Holmes’ past and to literature in general, this story has a few nuggets of information about the Baker Street years (which is the frame for this story). Watson talks about Holmes’ slovenly habits again, but this time contrasts it with Holmes’ extreme neatness of dress. Watson admits to being a bit of a slob himself, but not as much as Holmes. In Watson’s description of (and frustration with) Holmes’ habits, we get some of the most iconic images of their rooms at Baker Street.

But with me there is a limit, and when I find a man who keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece, then I begin to give myself virtuous airs. I have always held, too, that pistol practice should be distinctly an open-air pastime; and when Holmes, in one of his queer humours, would sit in an arm-chair with his hair-trigger and a hundred Boxer cartridges, and proceed to adorn the opposite wall with a patriotic V. R. done in bullet-pocks, I felt strongly that neither the atmosphere nor the appearance of our room was improved by it.

  1. The fourth case in his career, assuming we count “The ‘Gloria Scott’” as his first, and that it was not one of the cases he undertook when he had rooms at Montague Street.

The ‘Gloria Scott’ (1893)

The 'Gloria Scott'

The 'Gloria Scott'

Want to read this along with me? This essay is part of The Memoirs of Sherlock Holmes, published in 1894. I used the epub version found on Feedbooks.com.

It’s the beginning of a new year, so it’s appropriate that today is a review of the first case Holmes was ever involved with.

There are a few similarities, both fortunate and unfortunate, between this story and A Study in Scarlet. Both stories feature iconic moments in the history of Sherlock Holmes — in this case, acting very much as an “origin story” for the Great Detective. Unfortunately, “The ‘Gloria Scott’” shares the flaw that A Study in Scarlet does of being only half a Sherlock Holmes story, as the second half is entirely taken up with a second narrative that explains the events behind the case. And both stories introduce snarls in chronology that make it hard to work the other cases around.

Since this is the first case in which Sherlock Holmes was involved with, let’s spend some time working out the timing. The confession that Trevor left indicates that the events on the Gloria Scott happened in 1855. Later, he writes that “For more than twenty years we have led peaceful and useful lives,” which would put the story at 1875, which is consistent with Holmes being in college, and makes the idea that A Study in Scarlet takes place around the early 1880s plausible. However, when Hudson meets Trevor, he says “’Why, it’s thirty year and more since I saw you last….’”, which would make the events of the story 1885, and pretty much impossible to reconcile with the established canon. I choose to think that Hudson is a liar, and stay with the 1875 date.1

Holmes mentions that he was in college for only two years, and that he was schooled in fencing and boxing. He confirms that he wasn’t “a very sociable fellow,” and that he only had one friend at school, who ends up taking a somewhat similar role as Watson does in Holmes’ early cases. Holmes also surprisingly notes that he originally didn’t consider being a detective, but that his deductive skills were merely a hobby:

“One evening, shortly after my arrival, we were sitting over a glass of port after dinner, when young Trevor began to talk about those habits of observation and inference which I had already formed into a system, although I had not yet appreciated the part which they were to play in my life.”

And later:

“’I don’t know how you manage this, Mr. Holmes, but it seems to me that all the detectives of fact and of fancy would be children in your hands. That’s you line of life, sir, and you may take the word of a man who has seen something of the world.’

“And that recommendation, with the exaggerated estimate of my ability with which he prefaced it, was, if you will believe me, Watson, the very first thing which ever made me feel that a profession might be made out of what had up to that time been the merest hobby.”

Despite the similarities to the formula in Scarlet, this is still quite a departure from the Holmes formula. Not only is it the first case that doesn’t feature Watson in any meaningful way, but it’s the first case told from Holmes’ perspective. Granted, Holmes doesn’t do a lot of deduction during the case, but we do see glimpses of Holmes explaining his thought process, especially when he decodes the cypher. And the story in Trevor’s confession is interesting in and of itself. It is even pointed to by scholars as the likely origin of the phrase “smoking gun” meaning a damning piece of evidence:

“… there he lay with his brains smeared over the chart of the Atlantic which was pinned upon the table, while the chaplain stood with a smoking pistol in his hand at his elbow.”

But despite an interesting attempt to do something new in a Holmes story, in the end it only ends up being mediocre. I’m not as frustrated by this story as I am with Scarlet (at least we know who all the narrators are this time!), but the glimpse into Holmes’ past ends up being too short, and too consumed by the drama of the Gloria Scott, which ultimately ends with both threads being only somewhat resolved.

  1. But the problems go much, much deeper than this. In fact, “The ‘Gloria Scott’” is probably the epitome of chronology snarling. If you really want to dig into the details of it, pp. 517-518 of The New Annotated Sherlock Holmes, Volume 1 has a good breakdown of all of the canonical inconsistencies in this story.