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rescue
Purpose: join an existing fight, interposing yourself between a character and their opponent.
Synonyms: none
| SYNTAX |
EXAMPLES |
| 1. rescue <target> |
1. rescue guard |
| 2. rescue <target> <specifier> |
2. rescue guard tall |
| 3. rescue <specifier> <target> |
3. rescue tall guard |
| 4. rescue <n>.<target> |
4. rescue 2.guard |
USE:
- Use form one when there's no possible ambiguity. In the example, there's only one guard 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 tall guard, a short guard, a skinny guard, 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 tall guard, a short guard, a skinny guard, etc.
- Use form four when there are many instances of <target> present, and you want to rescue one of them in particular.
When you Rescue someone, you take their place in an existing fight,
interposing yourself between that character and their opponent.
The character you rescue remains part of the fight, but will no longer suffer damage,
and is free to act as desired.
There are many conditions which could prevent you from being able to rescue
a particular target. You may be too tired, or paralyzed, or blinded and unable to find the target.
The Game channel will inform you of the outcome of your command.
As with many other TriadCity commands, your expertise with the Rescue Skill will determine how
effective your attempts to use the Rescue command will be.
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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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