act for change project

Introducing the Septiceye Strength Project !!!

I don’t know about everyone else, but since I’ve joined the Jacksepticeye community I’ve found a lot of something I hadn’t seen in fandoms before: happiness. This community is rampant with positivity, love, and support for one another and I have never felt so welcome in a place.

Random people message me to have a good day, I get Internet hugs when I’m sad, and more. And although we all should be proud of ourselves, I think we have a common denominator to thank: the man himself.

Jack has created a community where no one feels alone and where I and many others can come to find support no matter where they come from, or what their sexuality, gender identity, or race is. It’s incredibly powerful and I can’t speak of it enough to do justice.
Before I get carried away, I want to share some statistics with you:

Over one million people die by suicide worldwide each year.

The global suicide rate is 16 per 100,000 population.

On average, one person dies by suicide every 40 seconds somewhere in the world.

1.8% of worldwide deaths are suicides.

Global suicide rates have increased 60% in the past 45 years.

I wanted to do something to not only show my incredible, inexpressible thanks for Jack but also to help people. I created the SepticEyeStrength Project because of that.

The goal of this project is to not only show our thanks for Jack, but also to show how powerful we are as a community and how we can act as a serious proponent of change.

The goal of the SepticEyeStrength Project is to raise $2,000 for the American Foundation for Suicide Prevention, as there is no credible international one, by the end of 2017. To do this, I need your help.

Although the plan is to eventually get there, the project must first gain ground. We must get social media recognition (hopefully from the man himself!) and support.

First order of business is that I need a team. A group of people anywhere between 16-25 who want to help. (To apply, you can click this link:

The second order of buisiness is immediate action. TODAY (February 19th) I am starting the “Messages for Jack” event, using the tag #septiceyestrength as a place to express thanks, love, and anything you want to say to Jack, especially if you have a story where he has helped you through hard times.

In addition, if you want to go the extra mile, post a picture of yourself holding up a sign that has the tag on it and a message to Jack. My goal is to get this tag active enough so that the project can gain ground, so that we can open the charity initiative and hopefully pass our goal.

Whether or not you plan to actually want to get involved, this project and Jack mean the world to me. Please spread this, follow this blog, and follow our twitter @septiceyestrong.

Thank you for reading this, it means a lot to me. Don’t forget to keep being bosses.

Daria: Jodie Landon [INFJ]


Introverted Intuition (Ni): Being President of the Student Council, the Valedictorian, and admitted to Lawndale’s Harvard analogue, Crestmore University, Jodie Landon is not only Daria’s foil but a contrast in Ne against Ni.  Like Daria, Jodie is also intensely personal, with a large side of her personality kept hidden from others.  What people see is a carefully crafted image Jodie wants them to see.  However, while Daria needs to be true to herself, Jodie is motivated by a need to inspire others through her path. She wants to show others that it is possible to achieve what they want to achieve, and she’s willing to make the sacrifices necessary to make that reality.  Intrinsically conscious of being an African-American in a mostly White community, she sees herself as a symbol challenging stereotypes with every action and choice; it’s eventually what leads her to go to Turner College, a Historically Black College, rather than Crestmore—making that choice demonstrates the ultimate symbolic rejection of having to “please” the others in her community. 

Extraverted Feeling (Fe): While the show constantly jokes about Jodie gets involved in every activity in school, the truth is that she struggles with standing up for her own feelings and beliefs in the face of social norms.  She’s not afraid of using people’s emotions and expectations to get what she wants (such as her father’s name and reputation) and even tries to impose societal standards of normalcy on others, but she nevertheless has difficulty understanding what she wants herself in the face of social pressure to feel or act a different way. Finally, Jodie is quick to share her feelings with others, and is able to reflect the emotional state she needs to get ahead.

Introverted Thinking (Ti): Jodie understands how systems works.  She uses her understanding of working through the system in order to get ahead.  She’s not afraid to adjust her argumentation to reflect the rules of the system she wants to manipulate. This is what makes Jodie such a great foil to Daria: both are smart, ambitious characters, but while Daria always comes down on Fi-driven stubbornness, Jodie always tries to understand the system and work through it. Jodie’s decisions tend to be strategic in this sense—what would be expected in this circumstance?

Extraverted Sensing (Se): Jodie cares about her image.  She wants to be thought of in a certain way, and projects the appropriate reflection.  Yet, this often poses a challenge to Jodie, especially when this real-world character doesn’t match her internal self-image.  Jodie struggles with this emptiness—being the “perfect Jodie doll”—and has a hard time with changing then often acts out physically—projecting her feelings, emoting to her boyfriend, or trying to bury her emotions.

note: I really love the “requests” because I get more motivated to write if someone wants the characters I’m thinking about!

MOD NOTE: This one was submitted with the name “Jodie Marsh” instead of Landon. I’ve taken the liberty of correcting it to the correct name.

fuckshanedalton  asked:

Hi Josh, what does a writing style guide for a video game look like?

I can only speak about games I’ve worked on; I’ve never seen a writing guide from another studio.

Most of Obsidian’s writing style guides are based on foundation work dating back to Black Isle by Chris Avellone and other Black Isle writers. 

Obsidian has some high-level stylistic guidelines governing things like syntax and formatting (e.g. terminal punctuation spacing, use of quotation marks, serial commas, dashes, etc.) that apply to all of our products unless a licensor has a standard they want to enforce.  E.g. if we made a game for the New Yorker and they insisted that we used diaeretic umlauts all the time, we would follow their standard.

The company-wide guidelines also include standards for providing actor direction and general comments.  While the amount of voice acting on our projects changes from game to game, our standards are largely the same.  We always try to provide pronunciation guidelines and other salient information for the actors and directors.

Game-specific style guidelines define how to use prose (if at all); the length of individual dialogue nodes and node sequences; the use of contemporary language/slang and accents; how to structure dialogues, present choices, and introduce characters; and how to deal with the mechanical elements of the dialogue system (e.g. skills, attributes, reputation, etc.).

Generally, a set of documents covering these guidelines will total 8-12 pages.

anonymous asked:

not concern trolling here, genuinely just wondering your opinion. do you think if, (only if) cole were to leave riverdale to pursue photography, (I realize he's probably contracted to the end of season two right?) would they kill off jughead or something? I wonder what would happen to his character. although there's no way they're going to kill everyone's favourite and half of the most popular ship, so unless cole left it's virtually impossible. just wondering your opinion. love your blog! 💕

Thanks and that’s fine. In all likelihood, Cole’s under a SIX year contract (that’s pretty standard for network TV series for mains contracted at the beginning of a series) and those contracts are NOT easy to get out of. I tend to see the show running 4 seasons, so Cole will be all of 27 when he’s done and thus still with his entire adult life before him.

Additionally, we see that he already currently does both—to say nothing of he enjoys trolling AND recently also made extensive comments of why a full order of episodes is much better for the narrative than a half season—-which indicates a desire to work more, not less….

He’s perfectly happy for the moment, as is—-what he’s probably looking to telegraph is that currently (which, TBH, with Cole does appear to change) he’s not looking for OTHER acting projects….because I find it really, really, REALLY hard to buy that his agent isn’t fielding lots of calls these days….

Also, really, if Cole were looking to leave/entertaining it, would he have had a three day tiff with RAS over a dog because of “narrative integrity”????

I wanna see the basement tapes so bad. They’re the only videos where Eric and Dylan talk about the massacre. Dylan only mentions it once in his journal and even if he did write about it more like Eric did, it still wouldn’t be enough because I want to see a video of them discussing it together. Which brings me to my next point; I want to see how the two of them acted together, if that makes sense. I want to see them being themselves. Not acting in a school project. That convo they had about changing shirts in radioactive clothing + talking about bullet holes in rampart range are the only videos we have of Eric and Dylan having conversations with each other(when they’re not reading from a script btw) and I just wanna see them actually interacting and talking with each other.

@actforchangehq #act4june30th #theactforchangeproject

 Asian actor should play PM: Luther star Ruth Wilson leads call for more diversity on TV 

Ruth Wilson has called for an Asian actor to play a prime minister in a major British drama, as an industry campaign for greater diversity on television begins.

Wilson, best known for roles in the critically acclaimed Jane Eyre and Luther, said it was important to have diverse role models on screen as television is a “powerful force for change”.

She has joined The Act For Change Project, which calls for television drama to represent everyone regardless of race, gender, class, sexual orientation and physical ability — and wants an independent body set up to monitor it.

The growing list of actors, writers and directors to back the project includes David Harewood, Lenny Henry, David Morrissey, Kim Cattrall, Andrew Scott and Jack Whitehall.

It was formed in response to ITV’s trailer for its new season of drama earlier this year, which did not feature a single actor from a black or ethnic minority background.

Wilson, 32, said: “For me TV is a really powerful force for change and a positive force for change … not only representing what is on our streets but also representing what we want on our streets in the future. Or what we want in our institutions, what we want for our role models in future.

“It’s about effecting change with TV. If you put positive role models on TV then people at home, kids at home who look on the TV screen and see an Asian politician or an Asian prime minister in a TV drama can believe that they can be a prime minister of Britain.

“Putting role models on that TV screen for younger generations to aspire to [is] where TV can really push our civilisation forward.”

Harewood, 48, best known for playing David Estes in American thriller Homeland, said Britain is a long way behind the US where diversity on TV has “become the norm”. He said: “When I turn my TV on in America, there they are, there’s a whole broad spectrum of people.

“When I get off the plane in London, turn my TV on, it takes me three weeks to see one.”

The campaign will be launched at the Young Vic on June 30, with a conference chaired by Liberty director Shami Chakrabarti. The panel will include head of ITV drama Steve November, BBC head of casting Julia Crampsie and dramatist Stephen Poliakoff.

To attend the launch visit


Act For Change Project

Hey Andrew…?


Jorge Otero-Pailos


MIT Keller Gallery Opening February 6, 2014, 6:00-8:00 PM 77 Massachusetts Avenue, Building 7, 4th floor; Cambridge, MA 02139 

Space-Time captures one third of one millionth of a second in a twelve-hour re-enactment of Harold Edgerton’s historic laboratory experiment at MIT, conducted in 1964, in which he successfully photographed a supersonic bullet travelling at Mach 2.39 through a Macintosh apple. The re-enactment pursued historical fidelity in everything but its title—Edgerton called it Bullet Through Apple. The title change is meant to shift attention to the reception of Edgerton’s work within architectural discourse as an early scientific visualization of Space-Time, a modernist concept articulated by Sigfried Giedion, and other prominent architectural theorists in the late 1930s, who were interested in the effects of high-speed motion through space on the human perception of time. They were influenced by Einstein who theorized that, paradoxically, the faster one’s relative speed through space the slower one’s relative experience of time. That is perhaps why Edgerton’s retrospective monograph of high-speed photographs was titled Stopping Time.

Movement can be a physical or a conceptual act. Physically we can change our location in space, mentally we can project ourselves in time. Preservation is an attempt, if not to stop time, then at least to slow down our experience of it by stabilizing the appearance of things over time. But the logic of Space-Time suggests that we may have been going about preservation in entirely the wrong way. Counterintuitive as it might seem, preservation might achieve its goals better by projecting conceptual movements rather than stabilizing physical forms. The re-enactment is an invitation to consider Space-Time as an enabling concept of your movement between two images taken fifty years apart.

The concept of Space-Time fell out of fashion with early modernism. Arguably the concept was born too early. It failed in part because it was brought into architectural discourse prematurely, when preservation was in its infancy and could not recognize its value and radical potential. Space-Time, like other untimely innovations (think of Paul Nipkow’s 1884 patent for television), belonged conceptually to the future.

*Historical artifacts provided by MIT Museum and MIT Edgerton Center; Firearms expertise and operation by Mike Conti; Film Processing and Printing by LTI Lightside; Scene set and lit, and latent image captured by Nathan Carlson Friedman, Kyle Hounsell, Theresa Mislick, James W. Bales, and Jorge Otero-Pailos.