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harm
Purpose: decrease a victim's health.
Synonyms: none
| SYNTAX |
EXAMPLES |
| 1. harm <target> |
1. harm guard |
| 2. harm <target> <specifier> |
2. harm guard tall |
| 3. harm <specifier> <target> |
3. harm tall guard |
| 4. harm <n>.<target> |
4. harm 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, 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, etc.
- Use form four when there are many instances of <target> available, and you want to harm one of them in particular.
Harm, like other Malopath commands, is an empathic use of Evil.
If successful it decreases the victim's health, potentially to the point of death.
It's likely to be detected, and it's likely that victims won't take kindly to it.
Be forewarned.
There are many conditions which could prevent you from being able to harm
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 Harm Skill will determine how
effective your attempts to use the Harm command will be.
Harm is a Malopath Role command only.
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Malopah commands:
Player Command Reference home
Complete Player Command Reference
Players' Guide TOC
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"The space of a fictional world is a construct, just as the characters and objects that occupy it are, or the actions that unfold within it. Typically, in realist and modernist writing, this spatial construct is organized around a perceiving subject, either a character or the viewing position adopted by a disembodied narrator. The hetertopian zone of postmodernist writing cannot be organized in this way, however. Space here is less constructed than deconstructed by the text, or rather constructed and deconstructed at the same time. Postmodernist fiction draws upon a number of strategies for constructing/deconstructing space, among them juxtaposition, interpolation, superimposition, and misattribution."
--Brian McHale,
Postmodernist Fiction (info)
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