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barf
Purpose: barf, on nothing, something, or someone.
Synonyms: none
| SYNTAX |
EXAMPLES |
| 1. barf |
1. barf |
| 2. barf <thing> |
2. barf bottle |
| 3. barf <thing> <qualifier> |
3. barf bottle red |
| 4. barf <qualifier> <thing> |
4. barf red bottle |
| 5. barf <n>.<thing> |
5. barf 2.bottle |
USE:
- Use form one to barf indiscriminately.
- Use form two when there's no possible ambiguity. In the example, there's only one bottle present.
- Use form three or four when more information is needed to interpret the command - that is, there's more than one possible target by the same name to which the command could be applied. In the example, there's a blue bottle, a red bottle, etc.
- Use form three or four when more information is needed to interpret the command - that is, there's more than one possible target by the same name to which the command could be applied. In the example, there's a blue bottle, a red bottle, etc.
- Use form five when there are many instances of <target> present, and you want to barf on one of them in particular.
As is typical of most TriadCity commands, Barf searches for <thing>
in a specific order, starting with the room you're in, then your worn or wielded equipment,
then your inventory. So, if there's a box in the room, and a box in your inventory, the command
"barf box" will refer to the one in the room, not your inventory. You'd need to use
"barf 2.box" for the latter.
Unlike certain other social commands,
Barf
cannot be parameterized.
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"In 1455, Gutenberg invented the printing press -- but not the book as we know it. Books printed before 1501 are called incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that these books are the work of a technology still in its infancy. It took fifty years of experimentation and more to establish such conventions as legible typefaces and proof sheet corrections; page numbering and paragraphing; and title pages, prefaces, and chapter divisions, which together made the published book a coherent means of communication. The garish videogames and tangled Web sites of the current digital environment are part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
Now, in the incunabular days of the narrative computer, we can see how twentieth-century novels, films and plays have been steadily pushing against the boundaries of linear storytelling."
-- Janet H. Murray,
Hamlet on the Holodeck: The Future of Narrative in Cyberspace (info)
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