The Waterhouse Women
Jacqueline A. Lott
based on painting cover art IntroComp 2002
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(For more information, type "about")

You stand in a perfectly circular room. There is one continuous ivory-coloured wall surrounding you, devoid of corners, with no beginning and no end.

On the wall directly in front of you is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.

There is a lovely wooden bench in the center of the room.

On the bench is a piece of paper.
You look at the paper
The paper, like the walls of the gallery, is ivory in colour.

At a glance, you see the title, "John William Waterhouse: Fantasy and Realism," centered across the top of the page in an elegant hand. An essay of some sort is written beneath it.
You look at the painting
In the painting stands an elegant woman. In her hands she holds a delicate crystal ball. Her head is lowered, as if she is concentrating on the sphere in her hands, but her eyes remain closed.

Centered beneath the painting is a plaque.
You read the plaque
It reads:

The Crystal Ball:
Oil on Canvas, 1902
J. W. Waterhouse
About yourself
You feel wonderful, considering your current predicament. For someone who can't find their way back to the "real" world, you seem to be doing just fine.
You take the painting
The painting is fixed quite firmly to the wall.
You move it
It is fixed in place.
You examine the essay
"John William Waterhouse: Fantasy and Realism"

John William Waterhouse, born on April 6, 1849 to British parents in Rome, is considered to be one of the foremost artists of his era. Though truly a Classical artist, he is often regarded as Pre-Raphaelite due to his obvious affection for literature, myth, romanticism, and nature. Waterhouse's works are known for their use of colour, light, and intense attention to detail.

Waterhouse moved to England early in life and studied first in his father's studio, then later at the Royal Academy Schools. He became an Associate of the Royal Academy in 1885, and a Full Academician in 1895. His initial paintings depicted true life subjects, but he soon began to focus his work in more poetic realms, borrowing from the writings of Homer, Shakespeare, and Tennyson, among others.

Waterhouse continued painting up until the time of his death in 1917.
You touch the painting
You reach out and place your hand against the canvas. Beneath your fingertips, you can feel the topography of the paint... its contours, the changes in texture, and the varying directions which accompany each brushstroke.

When you try to take your hand away from the painting, you realise that you are powerless to do so. You begin to feel something, a sensation indescribable but not at all unpleasant. You feel a warmth slowly spreading through your fingers, into your body. Soon it envelopes you completely, drawing you closer...
...and you feel yourself stepping into the painting.

Inside the painting entitled "The Crystal Ball"
Glancing about, you notice that everything here is as it appeared in the painting. To the north is the elegant woman standing between the table and chair, and beyond her the window, but your new point of view from inside the painting allows you to see the rest of the room as well. A second window is set in the eastern wall, and a matching chair can be seen opposite the table from its mate. A large trunk sits in the northwest corner of the room, and a looking-glass can be seen to the southeast. Behind you, to the south, is a door.

Slowly, the woman opens her eyes and lifts her gaze to meet your own. A knowing smile plays across her lips. "I've been watching you," she says softly. "You think yourself off course, lost from the world you know and understand." She pauses, looks into the crystal, and begins to speak again. "I see a path for you, Wanderer. Its course is not yet determined, but its ending is clear. You will find that which you seek." She lifts her eyes again, her fingers still playing delicately across the surface of the orb. "I am Sophronia, daughter of Aisling, and I knew you would find me."

She looks at you expectantly.
You examine the orb
The sphere is transparent. In it you can just make out the inverted image of the open window beside the young woman.
You look at the window
Windows are set in the north and east walls, near the northeast corner of the room. Both look out upon a grove of trees.
You examine trunk
It is a large trunk, upholstered in leather and surrounded by a sturdy iron frame. Twin clasps sit left and right of a central lock set along the front face of the lid. The dome shaped lid is currently closed.
You open the trunk
It seems to be locked.
You ask the woman about herself
She lifts her head slightly, and draws a noticeably long breath before responding. "Who am I? Who I am is not important, only that I may be of some assistance to you. Worry yourself not with me, and cast your energies elsewhere."
You ask the woman about the trunk
She looks at the trunk, and contemplates it for a moment before speaking. "Honestly, you needn't worry yourself with that trunk. It's a lovely old chest, filled with memories. But they're my memories, and would serve you little."
Examine book
On the table lies a thick leather-bound book. Its metal clasps undone, it lies open to a page somewhere near the middle of the volume. On the open pages you can see handwritten script and a number of diagrams and drawings.

There appears to be some sort of wand lying across the pages of the book.
You examine the wand
The wand is lying across the pages of the open book. It is long and slightly tapered at one end.

Sophronia notices your interest in the wand. "That's not important, Wanderer. You've haven't the skills to use it, and mastering such a thing would consume more time than you can spare."
You ask the Sophronia about here
Her eyes contain the answer, but she seems unwilling to reveal everything to you. "If it is important, Wanderer, you will discover the answer without me."
You examine the lamp
The oil lamp consists of a stand, a metal reservoir, and a clear glass chimney. It is not lit.
You look at the window
Windows are set in the north and east walls, near the northeast corner of the room. Both look out upon a grove of trees.
You examine the grove
The forest outside the window is lush and green. The branches of trees sway gently in the breeze.
About yourself
You feel wonderful, considering your current predicament. For someone who can't find their way back to the "real" world, you seem to be doing just fine.
You read the book
As you move to get a better look at the open pages, Sophronia steps forward, placing a hand on the nearest page to obscure your view. "This is the one personal effect I have by which to remember my father. It is a sacred thing, between him and me, and I feel not inclined to share it with you. I am sorry."
You ask her about the father
(Sophronia about that)
Upon hearing your question, Sophronia glances into the folds of the curtain. In her eyes you momentarily sense a sadness that wasn't there before. "Aisling was my father, my teacher, my world. It has been nearly five years since I laid him in the ground." She closes her eyes for a moment to regain her composure.
Light lamp
This dangerous act would achieve little.
You get the lamp
"I'm sorry, Wanderer, but that belongs to me," says the elegant woman.
You ask her about yourself
(Sophronia about that)
Her smile widens. "You know well who you are, Wanderer. What you yearn to know is how to return home. That I cannot explain to you directly, other than to say that you must choose your path and follow it through to its end. It will lead you home."
Go north
There is no exit in that direction. There is a door to the south, however.
You examine the door
The door to the south is made from wood, and painted white. Currently, it is closed.
You open the door
You open the door.
You go to the south
You stand in a perfectly circular room. To the south, through an arched doorway and down a short flight of stairs, there appears to be a hallway.

On the north wall is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.

There is a lovely wooden bench in the center of the room.

On the bench is a piece of paper.
You take the paper
Taken.
You examine bench
The bench is minimalist in design and appears to be made of oak. It is finished in a dark stain, and polished to such a degree that you can make out your reflection in its surface.

There is nothing on the bench.
You examine the reflection
Your reflection stares back at you, matching your every expression.
You go south
You walk down the stairs and into the hallway.

You are at one end of a spacious hallway, which extends from north to south. To the north, a small flight of stairs ascends to another room. Further down the hall, to the south, you see five additional paintings. Beyond the paintings, at the end of the hallway, is an ornately carved wooden door.

On the west wall is a painting of a mermaid, set in a gold and grey frame. Centered beneath the painting is a small brass plaque.
You examine the mermaid
She is sitting on a rocky beach with her tail casually wrapped about her. Her rose coloured lips are parted slightly, and her gaze is fixed on something distant, either upon some object not included in the painting, or perhaps upon nothing at all. Behind her, the curl of a small wave lapping gently on the shore suggests that she is relaxing in a protected cove of some sort. In the distance, water flows beneath a series of natural rock arches, inviting her back into the sea.

On the beach before her lies a large iridescent shell, filled with pearls.
You examine the plaque
The plaque consists of a small, thin piece of finely polished brass with beveled edges. It reads:

A Mermaid:
Oil on canvas, c. 1901
J. W. Waterhouse
You examine the shell
The shell is thick and dull on the exterior, while its exposed interior shimmers in the sunlight. It is very large, and would probably require both hands to lift or carry. It is filled with pearls; some lie loose in the bottom of the shell, others drape over its side in strings.
You touch painting
You extend your hand and place your fingertips against the canvas. As expected, you feel a warmth that soon envelops you...
Congratulations!

You have completed the introduction to the Waterhouse Women.

What will happen in the painting entitled "A Mermaid?" What are all the other paintings like? What lies beyond the ornately carved door at the end of the hall?

Discover all this and more when the game is complete!

When will it be completed? An excellent question. If you vote for this game in the IntroComp, you'll encourage the author to finish the game within the year so that she can claim a glorious prize! Come to think of it, now would be an excellent time to cast your vote... (hint, hint)

Honestly, though. Thank you for playing.
You go north
About "The Waterhouse Women"
N = next subject                                                  P = RETURN = read subject                                          Q = re sume game
A little information about "The Waterhouse Women":

> Why isn't this game complete?
Acknowledgments
This is a very short version of the game, intended to be an introduction rather than a finished product. I do intend to finish this game, hopefully by the close of 2002.

"The Waterhouse Women" was created for IntroComp 2002, a deceptively simple competition where introductory games are judged on one criteria only: "How much do you want to play more of this entry?"

Further information can be found at the following web site:
[LINK]

About "The Waterhouse Women"
N = next subject                                                  P = RETURN = read subject                                          Q = re sume game
A little information about "The Waterhouse Women":

> Why isn't this game complete?
Acknowledgments
You go north
About "The Waterhouse Women"
N = next subject                                                  P = RETURN = read subject                                          Q = re sume game
A little information about "The Waterhouse Women":

Why isn't this game complete?
> Acknowledgments
About "The Waterhouse Women"
N = next subject                                                  P = RETURN = read subject                                          Q = re sume game
A little information about "The Waterhouse Women":

Why isn't this game complete?
> Acknowledgments
Without being too long-winded, as is my usual style, I would like to thank the following people:

First and foremost, my excellent team of beta testers, in alphabetical order:

- J. D. Berry
For being my Muse and making me work.

For his words of encouragement and quick turn-around time.

- Dennis G. Jerz
For reminding me to keep things simple, among other things.

For catching problems others did not, and his brilliant ideas on magical envelopes.

For being one of the fastest, most dedicated, and most reliable testers ever.

Irene Callaci, for helping me to bring Sophronia to life.

All of the souls that offered assitance and guidance through rec.arts.int-fiction and ifMUD.

Anthony Hobson, for his wonderful book about J. W. Waterhouse.

Graham Nelson, for Inform and the Inform Designer's Manual.

About "The Waterhouse Women"
N = next subject                                                  P = RETURN = read subject                                          Q = re sume game
A little information about "The Waterhouse Women":

Why isn't this game complete?
> Acknowledgments
You go north
You stand in a perfectly circular room. To the south, through an arched doorway and down a short flight of stairs, there appears to be a hallway.

On the north wall is an intricately detailed oil painting of a woman, framed in gold. Centered beneath the painting is a small brass plaque.

There is a lovely wooden bench in the center of the room.
You touch the painting
You extend your hand and place your fingertips against the canvas. As expected, you feel a warmth that soon envelops you...
...and you feel yourself stepping into the painting.

Inside the painting entitled "The Crystal Ball"
Glancing about, you notice that everything here is as it appeared in the painting. To the north stands Sophronia, between the table and chair, and beyond her the window. Your new point of view from inside the painting allows you to see the rest of the room as well: a second window is set in the eastern wall, and a matching chair can be seen opposite the table from its mate. A large trunk sits in the northwest corner of the room, and a large looking-glass can be seen to the southeast. Behind you, to the south, is a door.

She cocks her head slightly, waiting for you to speak.
You look at the skull
The cranium sits on the table, next to a large book and an oil lamp. Its presence unnerves you slightly.
You ask the skull about here
You can only do that to something animate.
You examine the mirror
The mirror is circular and fixed within a simple wooden frame, which is painted white. Support posts run from mirror frame's outer edge to a common base resting on the floor.
You look in the mirror
Reflected in the mirror are many of the room's objects: the chairs, the table, Sophronia, and the northern window.
You touch the mirror
Unfortunately, touching the glass has little effect. You feel only the expected coolness of the glass beneath your fingertips.
You breathe on the mirror
You blow on the mirror. A small fog appears on the glass, but fades quickly from view.
You ask Sophronia about Mermaid
"She is beautiful, as all mermaids are to mortals like you and I. But she may not be as gentle as her appearance would suggest. Guard your heart and wits in dealings with her."
You look at the skull
The cranium sits on the table, next to a large book and an oil lamp. Its presence unnerves you slightly.
You ask Sophronia about the skull
She glances at the skull a moment, her lips parting slightly. She looks back at you, a smile on her face. "You've no need to worry, Wanderer, such a fate is still quite distant for you."
You ask Sophronia about the mirror
Sophronia turns and looks at herself in the mirror, lowering the crystal ball slightly as she does so. "It's curious," she says, "that I can have a looking-glass like that in this tiny room and yet I rarely pay it any attention."
You examine Ball
The sphere is transparent. In it you can just make out the inverted image of the open window beside the young woman.
You look in Ball
Looking into the crystal ball, you can see the inverted image of the open window beside the young woman. She notices your interest and says, "Look not within the orb for the answers, Wanderer. Look within yourself."
You think
You take a moment to consider your next move.
You ask Sophronia about name
Her smile deepens, and she gently shakes her head. "That's not something for us to discuss. If it becomes important, the answer will be revealed to you."
You ask Sophronia about Waterhouse
"I know very little about him, unfortunately," admits Sophronia. "My father wrote in his journal that Waterhouse was a great man, but that is all. I wish I knew more about who he was."
You ask Sophronia about paintings
"The painting? It was merely a portal. You will venture through other doors before reaching your true destination."
You ask Sophronia about the magic
"That's not something for us to discuss," she replies. "Perhaps you have something else about which you would like to learn?"
You ask Sophronia about home
"Can you not remember from where you came?" she inquires. The expression on your face must speak the answer, for she smiles yet again and replies, "No matter. You will remember, in time."
You show the paper to Sophronia
Sophronia glances at the paper a moment, and squints her eyes momentarily. To your surprise, she looks at you and says, "I haven't any idea what that's all about."
You ask Sophronia about Waterhouse
"My father mentioned Waterhouse in his journal, and said that he was a great man, " explains Sophronia. "Unfortunately, that's all my father wrote. Until you showed me your parchment, I knew little or nothing about the man."
You ask Sophronia for the lamp
Sophronia has better things to do.
You ask Sophronia about the wisdom
"That's not something for us to discuss," she replies. "Perhaps you have something else about which you would like to learn?"
You ask Sophronia about the museum
Her smile deepens, and she gently shakes her head. "That's not something for us to discuss. If it becomes important, the answer will be revealed to you."