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manicure

Purpose: give a character a charisma-raising manicure.
Synonyms: none
NLP Enabled? yes

SYNTAX EXAMPLES
1. manicure <target> 1. manicure guard
2. manicure <target> <specifier> 2. manicure guard tall
3. manicure <specifier> <target> 3. manicure tall guard
4. manicure <n>.<target> 4. manicure 2.guard

USE:

  1. Use form one when there's no possible ambiguity. In the example, there's only one guard 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 tall guard, a short guard, a skinny guard, 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 tall guard, a short guard, a skinny guard, etc.
  4. Use form four when there are many instances of <target> present, and you want to manicure one of them in particular.

There are many conditions which could prevent you from being able to manicure a particular target. You may be too tired, or paralyzed, or unable to perceive the target. The Game channel will inform you of the outcome of your command.

As with many other TriadCity commands, your expertise with the Manicure Skill will determine how effective your attempts to use the Manicure command will be.

Because the command is enabled for "natural language" parsing, you can use all kinds of variations and still be understood. "Manicure the second guard", "manicure the 2nd guard", "manicure 2nd guard", "manicure 2.guard" and many others will all do fine.


Cosmetologist commands:

     
     
     

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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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