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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:
- Use form one when there's no possible ambiguity. In the example, there's only one lock in the current room.
- 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.
- 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.
- 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.
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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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