SmartMonsters

lock

Purpose: lock a lock.
Synonyms: none

SYNTAX EXAMPLES
1. lock <target> 1. lock lock
2. lock <target> <specifier> 2. lock lock big
3. lock <specifier> <target> 3. lock big lock
4. lock <n>.<target> 4. lock 2.lock

USE:

  1. Use form one when there's no possible ambiguity. In the example, there's only one lock in the current room.
  2. Use form two or three 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 big lock, a small lock, etc.
  3. Use form two or three 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 big lock, a small lock, etc.
  4. Use form four when there are many instances of <target> available, and you want to lock one of them in particular.

To lock something you must be holding the correct key.

As is typical of most TriadCity commands, Lock searches for <target> 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 "lock box" will refer to the one in the room, not your inventory. You'd need to use "lock 2.box" for the latter.

 
 

Complete command reference:

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

 
 
© 2012 SmartMonsters, Inc. All Rights are Reserved.


"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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