Avatar of Ohm

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Recent Statuses

9 hrs ago
Current Alright. That makes this my 12th visit to the emergency room in just over a year. I hate this body. I hate this mind.
1 day ago
To bear is to endure, hold, 'deal with', in a way. To bare is to reveal, expose, be naked and without layers. A bear is an animal. A bare bear is furless. We Bare Bears is a cartoon.
10 likes
1 day ago
On the topic of bots, I have bot detection thread that you are more than welcome to post in. Please include links to users/threads that are very clearly botposting. I'd like to keep it all contained.
3 likes
2 days ago
Reminder: Don't click on suspicious links.
4 likes
5 days ago
Nothing like prototyping a board game to pass the time.
2 likes

Bio

πšƒπšŠπš‹πš•πšŽπšπš˜πš™ πšπšŠπš–πš’πš—πš πšŽπš—πšπš‘πšžπšœπš’πšŠπšœπš.
π™Όπšžπšœπš’πšŒ πš™πš›πš˜πšπšžπšŒπšŽπš›.
π™·πš˜πšœπš 𝚝𝚘 πš‘πšŽπšŠπš•πšπš‘ πš™πš›πš˜πš‹πš•πšŽπš–πšœ.
πš†πšŠπš•πš”πš’πš—πš πšŽπš‘πš’πšœπšπšŽπš—πšπš’πšŠπš• πšŒπš›πš’πšœπš’πšœ.

πšƒπš‘πšŽπš›πšŽ πš’πšœ πš™πš˜πšπšŽπš—πšπš’πšŠπš• πš’πš— πšπšŠπš’πš•πšžπš›πšŽ.

Most Recent Posts

In Hello 2 mos ago Forum: Introduce Yourself
Short and to the point. Welcome to the Guild.




πš πš‘πšŠπš πš”πš’πš—πš 𝚘𝚏 πš™πš•πšŠπš— πš’πšœ πšπš‘πš’πšœ 𝚝𝚘 πš•πš’πšŸπšŽ 𝚘𝚞𝚝 πšπš‘πšŽ πšŽπš—πš 𝚘𝚏 𝚍𝚊𝚒𝚜
πš’πš— 𝚊 πšπšžπš—πš—πšŽπš• πšπš˜πš›πšπšžπš›πšŽπš πš‹πš’ πšπš‘πšŽ πš›πšŽπš™πš•πš’πšŒπšŠπšπš’πš˜πš— 𝚘𝚏 𝚊 πš•πš˜πšŸπšŽπš πš˜πš—πšŽ?
πšπš‘πšŽ πšŒπš‘πš˜πš’πšŒπšŽ 𝚘𝚏 𝚏𝚎𝚊𝚜𝚝 πš˜πš› πšπšŠπš–πš’πš—πšŽ
𝚍𝚘 𝙸 𝚜𝚝𝚊𝚒 πšŠπš—πš πšœπšπšŠπš›πšŸπšŽ πš–πš’πšœπšŽπš•πš
πš˜πš› πšπšŠπš”πšŽ πš‘πšŽπš› 𝚘𝚞𝚝 𝚊𝚜 πš›πšŽπš πšπš˜πš•πš’πšŠπšπš‘ πš‹πšŠπš’πš?
Didn't have internet for a while, so I kept busy with some classics.

Played through seven Tony Hawk games, notably THPS3, THPS4, THUG, THUG2, THAW, Project 8, and Proving Ground. The last two were underwhelming, with Proving Ground being especially rough to even run, and there was something I noticed over the progression of going through them allβ€”the pre-made parks drop significantly in quality (except Montana; can't ruin perfection). It's like, over time, the devs of each subsequent game stopped caring as much about letting players design their own parks (with the exception of THUG and THUG2, but even then, the quality does dip). Additionally, just the career portion of the games drop off drastically at Proving Ground. Project 8 does kind of keep the same sort of gameplay as the other games, but it was very clear that Proving Ground was made as an answer to EA's .skate, and that answer rang hollow.

Also played through the first three games in the Onimusha franchise. Solid games, but the gameplay does get more difficult in later installments. I enjoyed the story all throughout, especially in the third one. Jean Reno makes a damn good character model. I will say, thoughβ€”the inclusion of his voice work in the beginning, only for pretty much all foreign actors getting removed with the addition of Ako and her ability to not only make the characters understand each other, but also them being replaced with English voice actors... kind of an eyeroll, but to justify it in my mind, Jean Reno was probably expensive at the time.

I also finished Enter the Matrix: Path of Neo. An absurdly awful game. I have no idea how the general consensus is that Path of Neo is better than the original Enter the Matrix. People who truly believe that are baffling.
Thank you. I'll have my post up in the next couple of days.
𝚈𝚘𝚞 πšŠπš›πšŽ πš‘πšŽπš›πšŽ, πš’πš— πšπš‘πšŽ πš›πš˜πš˜πš–. πšƒπš‘πšŽ πšŠπš’πš› πš’πšœ πšœπšπšŠπš•πšŽ, πšœπš™πšŽπšŒπš”πšœ 𝚘𝚏 𝚍𝚞𝚜𝚝 πšπšŠπš—πšŒπš’πš—πš πš πš’πšπš‘πš’πš— πšπš‘πšŽ πšœπš˜πš•πš’πšπšŠπš›πš’ πšœπšπš›πš’πš™ 𝚘𝚏 πšœπšžπš—πš•πš’πšπš‘πš πšπš‘πšŠπš πš‹πš•πšŽπšŽπšπšœ πšπš‘πš›πš˜πšžπšπš‘ πšπš‘πšŽ πšπšŠπš™ πš’πš— πšŠπš— πšžπš—πš–πš˜πšŸπšŠπš‹πš•πšŽ 𝚜𝚎𝚝 𝚘𝚏 πšŒπšžπš›πšπšŠπš’πš—πšœ. π™Έπš— πšπš‘πš’πšœ πšπš•πš˜πš , 𝚒𝚘𝚞 πšŒπšŠπš— πš“πšžπšœπš πš‹πšŠπš›πšŽπš•πš’ πš–πšŠπš”πšŽ 𝚘𝚞𝚝 πšπš‘πšŠπš πšπš‘πšŽ πš›πš˜πš˜πš– πš’πšœ πšŒπš˜πšŸπšŽπš›πšŽπš πš’πš— 𝚊 πšπš‘πš’πšŒπš” πš•πšŠπš’πšŽπš› 𝚘𝚏 𝚍𝚞𝚜𝚝, 𝚊𝚜 πš’πš πšπš‘πšŽ πš›πš˜πš˜πš– πš‘πšŠπšœπš—'𝚝 πš‹πšŽπšŽπš— πš˜πšŒπšŒπšžπš™πš’πšŽπš πš’πš— πš’πšŽπšŠπš›πšœ. π™³πšŽπšœπš™πš’πšπšŽ πšπš‘πšŽ πšŠπš‹πšœπšŽπš—πšŒπšŽ 𝚘𝚏 πš’πšπšœ πš˜πš πš—πšŽπš›, πšπš‘πšŽ πšŒπšŽπš’πš•πš’πš—πš πšπšŠπš— πš‘πšŠπšœ πš‹πšŽπšŽπš— πš•πšŽπšπš πš›πšžπš—πš—πš’πš—πš πš˜πš— πš•πš˜πš  πš™πš˜πš πšŽπš›, πšŠπš— πšŽπšŸπšŽπš— πšπš‘πš’πšŒπš”πšŽπš› πšœπšπš›πš’πš™ 𝚘𝚏 𝚍𝚞𝚜𝚝 πšŒπš˜πš—πšπšŽπšŠπš•πš’πš—πš πš˜πš— πšπš‘πšŽ πšπš›πš˜πš—πš 𝚎𝚍𝚐𝚎 𝚘𝚏 πšŽπšŠπšŒπš‘ πšπšŠπš— πš‹πš•πšŠπšπšŽ. πšƒπš‘πšŽπš›πšŽ πšŠπš›πšŽ πšŸπšŠπš›πš’πš˜πšžπšœ 𝚘𝚍𝚍𝚜 πšŠπš—πš πšŽπš—πšπšœ πš’πš— πšπš‘πš’πšœ πš›πš˜πš˜πš–, πš–πš˜πšœπš 𝚘𝚏 πš πš‘πš’πšŒπš‘ πš‹πšŽπšŠπš› πš—πš˜ πš˜πš‹πšŸπš’πš˜πšžπšœ πš’πš–πš™πš˜πš›πšπšŠπš—πšŒπšŽ, πš‹πšžπš πšœπšŽπšŸπšŽπš›πšŠπš• πšπš’πš‘πšπšžπš›πšŽπšœ πš’πš— πšπš‘πšŽ πšœπš™πšŠπšŒπšŽ πšœπšπšŠπš—πš 𝚘𝚞𝚝, πš™πšŽπš›πš‘πšŠπš™πšœ πšŠπš•πš–πš˜πšœπš πšπš›πšŠπš–πšŠπšπš’πšŒπšŠπš•πš•πš’, πšŠπš™πšŠπš›πš πšπš›πš˜πš– πšπš‘πšŽ πš›πšŽπšœπš 𝚘𝚏 πšπš‘πšŽ πš›πš˜πš˜πš–'𝚜 πšŒπš˜πš—πšπšŽπš—πšπšœ.

π™Ύπš— 𝚊 πš•πš˜πš—πš-πšπš˜πš›πšπš˜πšπšπšŽπš— πšπšŽπšœπš” πšœπš’πšπšœ πšŠπš— π™°πš™πš™πš•πšŽ πš’π™ΌπšŠπšŒ π™ΆπŸΉ πšπšŽπšœπš”πšπš˜πš™ πšŒπš˜πš–πš™πšžπšπšŽπš› πšπš›πš˜πš– πšπš‘πšŽ πš’πšŽπšŠπš› 𝟸𝟢𝟢𝟷, πš’πšπšœ πšœπšŒπš›πšŽπšŽπš— πšŒπš˜πš–πš™πš•πšŽπšπšŽπš•πš’ 𝚘𝚏𝚏. πš‚πš’πšπšπš’πš—πš πšŠπšπš˜πš™ 𝚊 πš–πšŠπš—πšπš•πšŽ πš˜πš— 𝚊 πšπš’πšπšπšŽπš›πšŽπš—πš πš πšŠπš•πš• πš’πšœ 𝚊 πš‘πš˜πš•πš˜πšπš›πšŠπš– πšπš’πšœπš™πš•πšŠπš’ 𝚘𝚏 𝚊 πšπš›πšŽπšŽ, πš’πšπšœ πš‹πš›πšŠπš—πšŒπš‘πšŽπšœ πš‹πšŠπš›πš›πšŽπš— πšŠπš—πš πš˜πšŒπšŒπšŠπšœπš’πš˜πš—πšŠπš•πš•πš’ πšπš•πš’πšπšŒπš‘πš’πš—πš, 𝚊 πšπš’πš– πš‹πš•πšžπšŽ πš•πš’πšπš‘πš πš™πšŠπš’πš—πšπš’πš—πš πšπš‘πšŽ πš™πš•πšŠπšπšπš˜πš›πš– πšžπš™πš˜πš— πš πš‘πš’πšŒπš‘ πš’πš πšœπš’πšπšœ. π™Ύπš— πšπš‘πšŽ πš˜πš™πš™πš˜πšœπš’πšπšŽ πšœπš’πšπšŽ 𝚘𝚏 𝚊 πš›πš˜πš˜πš– πšœπš’πšπšœ 𝚊 πšπšŽπšŒπšŠπš’πš’πš—πš πšŒπš‘πšŠπš’πš›, πš’πšπšœ πš›πšŽπšπšŠπš• πšπšŽπšœπš’πšπš— πšŒπš˜πš—πšπš›πšŠπšœπšπšŽπš πš‹πš’ πš›πš˜πšπšπš’πš—πš 𝚠𝚘𝚘𝚍, πš‘πš˜πš•πšŽπšœ πš’πš— πšπš‘πšŽ πšπšŠπš‹πš›πš’πšŒ, πšŠπš—πš πšπš‘πšŽ πšœπšŽπš•πšπš˜πš– πš πšŠπšπšπš’πš—πš πšœπšŒπšŽπš—πš 𝚘𝚏 πšœπš πšŠπš–πš™ πš πšŠπšπšŽπš›. π™·πšŠπš—πšπš’πš—πš πšπš›πš˜πš– 𝚊 𝚌𝚘𝚊𝚝 πš›πšŠπšŒπš” πš’πš— πšπš‘πšŽ πšŒπš˜πš›πš—πšŽπš› πš’πšœ 𝚊 πš›πšŽπš, πš‘πš˜πš˜πšπšŽπš πš›πš˜πš‹πšŽ, πšπš‘πšŽ πšœπš’πš•πš” πšπšŠπšπšπšŽπš›πšŽπš πšŠπš—πš πšπš˜πš›πš—. π™Ώπš˜πš”πš’πš—πš 𝚘𝚞𝚝 𝚘𝚏 πš˜πš—πšŽ 𝚘𝚏 πšπš‘πšŽ πš›πš˜πš‹πšŽ'𝚜 πš™πš˜πšŒπš”πšŽπšπšœ πš’πšœ πšŠπš— 𝚊𝚐𝚎𝚍 πšπš˜πš–πšŽ.

π™½πšŽπš‘πš 𝚝𝚘 πšπš‘πšŽ πšŒπš˜πš–πš™πšžπšπšŽπš› πš˜πš— πšπš‘πšŽ πšπšŠπš‹πš•πšŽ πš’πšœ 𝚊 πšπš’πšŸπšŽ-πšœπšžπš‹πš“πšŽπšŒπš πš—πš˜πšπšŽπš‹πš˜πš˜πš” πš πš’πšπš‘ πšŠπš•πš• πš‹πšžπš πš˜πš—πšŽ πš™πšŠπšπšŽ πšπš˜πš›πš— 𝚘𝚞𝚝 πšŠπš—πš πšœπšŒπšŠπšπšπšŽπš›πšŽπš πšŠπšŒπš›πš˜πšœπšœ πšπš‘πšŽ πš›πš˜πš˜πš–. πšƒπš‘πšŽ πš πšŠπš•πš•πšœ πš’πš— πšπš‘πšŽ πš›πš˜πš˜πš– πšŠπš›πšŽ πšŒπš›πšŠπšŒπš”πšŽπš πšŠπš—πš πš‹πšŠπš›πš›πšŽπš— 𝚘𝚏 πšπšŽπšœπš’πšπš—, πšŠπš—πš 𝚒𝚎𝚝 πšŠπš›πšŽ πš™πšŠπšπšŒπš‘πšŽπš πš˜πšŸπšŽπš› πš πš’πšπš‘ πš—πšžπš–πšŽπš›πš˜πšžπšœ πš‹πšŠπš—πšπšŠπšπšŽπšœ πš πš‘πš’πšŒπš‘ πš‘πšŠπšŸπšŽ, πšπš‘πšŽπš–πšœπšŽπš•πšŸπšŽπšœ, πšπš˜πš›πš— πš˜πš™πšŽπš—. π™Έπš— 𝚊 πšπš’πšπšπšŽπš›πšŽπš—πš πšŒπš˜πš›πš—πšŽπš› 𝚘𝚏 πšπš‘πšŽ πš›πš˜πš˜πš– πš•πšŠπš’ 𝚊 πš™πš’πš•πšŽ 𝚘𝚏 πšπš’πšœπšŒπšŠπš›πšπšŽπš πš–πšžπšœπš’πšŒπšŠπš• πš’πš—πšœπšπš›πšžπš–πšŽπš—πšπšœ, πšŠπš•πš• 𝚘𝚏 πš πš‘πš’πšŒπš‘ πš•πš˜πš˜πš” πš•πš’πš”πšŽ πšπš‘πšŽπš’'𝚟𝚎 πšœπšŽπšŽπš— πš•πš’πšπšπš•πšŽ 𝚝𝚘 πš—πš˜ 𝚞𝚜𝚎 𝚊𝚝 πšŠπš•πš•. πš‚πšπš›πšŽπš πš— πšŠπš‹πš˜πšžπš πšπš‘πšŽ πš›πš˜πš˜πš–, πšŠπš–πš˜πš—πš πšπš‘πšŽ πš‘πšŠπšœπšπš’πš•πš’-πšœπšŒπš›πš’πš‹πš‹πšŽπš πšŠπš—πš πš‘πšŽπšŠπšŸπš’πš•πš’ πš‹πš•πšŠπšŒπš”πšŽπš-𝚘𝚞𝚝 πš™πš’πšŽπšŒπšŽπšœ 𝚘𝚏 πš—πš˜πšπšŽπš‹πš˜πš˜πš” πš™πšŠπš™πšŽπš›, πšŠπš›πšŽ πšŸπšŠπš›πš’πš˜πšžπšœ πš™πš’πš•πšŽπšœ 𝚘𝚏 πšπš›πšŠπšœπš‘, πš–πš˜πšœπšπš•πš’ πšŒπš˜πš—πšœπš’πšœπšπš’πš—πš 𝚘𝚏 πšŽπš–πš™πšπš’ πš™πš•πšŠπšœπšπš’πšŒ πš‹πš˜πšπšπš•πšŽπšœ.

π™³πšŠπš—πšπš•πš’πš—πš πšπš›πš˜πš– πšπš‘πšŽ πšŒπšŽπš’πš•πš’πš—πš πšπšŠπš— πš’πšœ 𝚊 πš”πš—πš˜πšπšπšŽπš πšœπšπš›πš’πš—πš.

@Synonym
W A R N I N G

This story contains explicit themes and content, including abuse, trauma, mental illness, and suicidal ideation. These topics will never be shown in graphic detail, but will be directly referenced in ways the player should be able to maturely comprehend.



πšπš‘πš’πšœ πš›πš˜πš˜πš–, πš•πš’πš”πšŽ πšπš‘πšŽ πš πš’πšπš‘πšŽπš›πšŽπš πš›πš˜πš˜πš 𝚘𝚏 𝚊 πšπš’πš’πš—πš πšπš›πšŽπšŽ
πšπš‘πš’πšœ πš›πš˜πš˜πš– πš’πšœ πšŠπš•πš• πšπš‘πšŠπš πš‘πšŠπšœ πšŒπš˜πš–πšŽ 𝚝𝚘 πš‹πšŽ
πšπš›πšŠπšπš–πšŽπš—πšπšœ 𝚘𝚏 𝚍𝚎𝚌𝚊𝚒, πš™πš›πšŽπšœπšŽπš›πšŸπšŽπš πš’πš— πš˜πš‹πšœπš’πšπš’πšŠπš—
πšπš‘πš’πšœ πš›πš˜πš˜πš–, 𝚊 πš–πšŽπš–πš˜πš›πš’ πš’πš— πš˜πš‹πš•πš’πšŸπš’πš˜πš—


A Dark Room is an exploratory psychological horror-mystery centered aroundβ€”but not always withinβ€”a single, abandoned room, seemingly disconnected from the rest of reality. Witness the history buried beneath the dust of time. UncoverΒ­β€”and perhaps changeβ€”the fate of its owner.

In this 1x1, you are the only player. I will serve to guide you through the space, describing what you see and the outcomes of the actions you take. The story will take you through multiple genres and locales, but at the center of it all will always be the room.

This is what I'm looking for in a partner for this particular story:
= Casual posting level; no paragraph or sentence requirements; ability to make at least one post a week
= Mature understanding and handling of themes within
= No ghosting

Thank you in advance for your consideration.
β™ͺ β™« β™ͺ
Hey, everyone. Sorry I've been gone. Aside from getting hit with Covid and injuring my leg, I also moved and then just didn't have any internet service for a while. I have internet now. Things healthwise have just kinda been the same; got sick again, and then some other unexplainable stuff has been happening, but I will hopefully be around more reliably now, if the RP is going to continue.
I find myself surprisingly interested in this concept. I have a character in mind, and this seems like the perfect RP to flesh out a little bit more of his history.
@Jimbo

How you doing, Jimbo?

It’s your turn to follow-up on the Will Reading entrance scene!


Hello! Sorry for the wait. I ended up injuring my leg pretty badly, which has left me kinda bedridden, and in the midst of resting and trying to let that heal, I ended up getting hit with COVID, so now I'm fighting a war on two fronts. I apologize to those waiting for my reply; things have been chaotic with my personal life as of late. If you'd like, it might be a good idea to skip my post for now and continue onward with the rest of the players while I recuperate and get back into posting shape.
See, this is where we have our first hurdle. If we're talking *just* the corpse of the T-800 against Burntrap, Burntrap clears. It's "alive", sentient, andβ€”more importantlyβ€”mobile.

But if this is in the processing facility where the T-800 gets melted, and Burntrap has to get into the molten metal, then it's likely a draw. For the sake of the matchup being as pure 1v1, regardless of location, I'll give this one to Burntrap.

Burntrap (FNAF Security Breach) vs. the band OK GO, but on the world's fastest treadmills (Real Life)
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