SmartMonsters

bored

Purpose: sigh with boredom over a person, thing, or entire room.
Synonyms: none

SYNTAX EXAMPLES
1. bored 1. bored
2. bored <thing> 2. bored statue
3. bored <thing> <qualifier> 3. bored statue red
4. bored <qualifier> <thing> 4. bored red statue
5. bored <n>.<thing> 5. bored 2.statue

USE:

  1. Use form one to sigh with boredom.
  2. Use form two when there's no possible ambiguity. In the example, there's only one statue present.
  3. 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 statue, a red statue, etc.
  4. 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 statue, a red statue, etc.
  5. Use form five when there are many instances of <target> present, and you want to sigh with boredom boredom over one of them in particular.

As is typical of most TriadCity commands, Bored 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 "bored box" will refer to the one in the room, not your inventory. You'd need to use "bored 2.box" for the latter.

Unlike certain other social commands, Bored cannot be parameterized.

 
 

Complete command reference:

Player Command Reference home
Complete Player Command Reference
Players' Guide TOC

 
 
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"[The] dominant of postmodernist fiction is ontological. That is, postmodernist fiction deploys strategies which engage and foreground questions like ... "Which world is this? What is to be done in it? Which of my selves is to do it?" Other typical postmodernist questions bear either on the ontology of the literary text itself or on the ontology of the world which it projects, for instance: What is a world?; What kinds of worlds are there, how are they constituted, and how do they differ?; What happens when different kinds of worlds are placed in confrontation, or when boundaries between worlds are violated?; What is the mode of existence of a text, and what is the mode of existence of the world (or worlds) it projects?; How is a projected world structured? And so on."
--Brian McHale,
Postmodernist Fiction (info)

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