#polywrites

[polysucks]

I was feeling a type of way about jeyne and sansa and letting them be teenage girls again. So I wrote a blurb to go along w my drawing. I’m not a writer so don’t come for me if it sucks.

The morning was crisp and unusually bright, the pale sun glinting off the freshly snow-dusted stones of Winterfell’s walls. A sharp wind cut through the yard, carrying with it the sound of wood clashing and boys shouting. Robb and Jon circled each other on the mud-packed snow of the training yard, their wooden swords striking with loud thwacks. Theon stood to the side, lounging against a fence post, smirking to himself with an air of smug self-satisfaction as he waited his turn.

High above, Sansa and Jeyne peered down from the gallery, bundled in woolen covers lined with rabbit fur and bright in color, their cheeks tinged pink from the cold.

“Jon’s quicker,” Jeyne declared wistfully, leaning over the railing to a better look at the boys, her breath fogging the air. “But Robb’s stronger. I’ll wager he wins this bout.”

“Jeyne, you shouldn’t wager on such things,” Sansa chided, though her voice was tinged with laughter. “Nor wager at all. It’s unbecoming.”

Jeyne turned to her, her dark eyes sparkling with mischief. “Oh, don’t be so pious, Sansa. You know you’re hoping Jon wins too. He’s so brooding—girls like that, don’t they?”

Sansa gasped, her freckled nose scrunching in mock outrage. “I most certainly do not! And neither should you. We’re meant to cheer for Robb; he’s the heir to Winterfell!”

Jeyne burst into giggles, clutching at Sansa’s arm. “You sound just like boring ol’ Septa Mordane. Shall I fetch my sewing and sit by the hearth instead?”

“Perhaps you should,” Sansa teased in a feigned scolding, though the corners of her mouth twitched with amusement at her friend’s candor.

The girls turned their attention back to the yard just as Robb lunged forward, his sword coming down in a heavy arc. Jon stepped aside at the last moment, snow crunching beneath his boots, and drove the flat of his blade into Robb’s ribs. Robb stumbled, laughing as he raised his hand in surrender.

“Jon wins again!” Jeyne crowed, clapping her gloved hands together. “Well done, Jon! I always knew you were the clever one!” Sansa tugged at Jeyne’s arm, loudly shushing the cheering girl with a grin that split her face ear to ear.

Their voices rang out across the yard, drawing Jon’s attention. He looked up, his dark hair falling into his eyes, and gave her a crooked smile.

“Careful, Jeyne,” Theon called from below, striding forward to take Jon’s place. “You’ll make me jealous with all this talk of Jon’s so-called cleverness.” He twirled his sword in a flashy display and pointed the tip up at the gallery. “You should do well to save some of your applause for me.”

Jeyne cupped her gloved hands around her mouth and shouted, “I will when you deserve them, Theon!”

Sansa clutched her sides, laughing so hard she could hardly breathe. “Jeyne! You can’t say things like that!”

“Oh, why not?” Jeyne replied, her voice a mix of mischief and innocence, reclaiming her seat beside Sansa and playfully slapped at the maiden’s hands as they tugged on Jeyne’s sleeves. “They love it. Just look at them.”

Below, Theon puffed out his chest, preening under the girls’ attention. Robb rolled his eyes, muttering something to Jon that made him chuckle.

Sansa shook her head, still giggling. “If Septa Mordane heard you, she’d have you scrubbing the floors of the great hall from dawn till dusk.”

“Then I’d have plenty of time to think about Theon Greyjoy and his pretty smile,” Jeyne said, fluttering her lashes dramatically.

Sansa dissolved into laughter again, leaning into her friend for support. “You’re horrible,” she said between gasps. “Completely incorrigible.”

“So you say,” Jeyne said with a grin, her breath catching in the cold air. “But do you disagree?”

Sansa only responded with more laughter. The sound of wood against wood rang out again as Theon and Jon squared off, their movements swift and precise. The girls leaned in to one another, their blankets rustling, as they watched the spar with rapt attention. Jeyne’s cheerful banter filled the air, and Sansa’s laughter rang out like a bell, bright and unguarded, as if this moment could last forever.

[retrocompmx]

Software retro de notación musical

9 publicaciones atrás hablamos de Phill Farrad, programador y webmaster, creador de Finale, el software de notación musical.

Cuando comenzó a trabajar como editor de música, se frustró al trabajar con música impresa en papel, por lo que comenzó el proyecto Polywriter. Cuando se libero al mercado costaba 495 usd y la tarjeta MIDI Apple costaba 195 usd.

Polywriter era un software de notación musical, previo a Finale para la Apple II y Apple IIe, y podía transcribir, editar e imprimir música MIDI polifónica a diferencia de su competidor Notewriter.

#retrocomputingmx #polywriter #AppleII

[iapetusneume]

Vivian, Fenris, and Dominick - Do they prefer to go out to a restaurant or stay in and cook?

This is a really hard question, and would probably depend on when in the relationship we’re talking.

If it’s before they have kids or after the kids get a bit older, the answer could really go either way. Vivian loves to cook and is a chef, but she also really enjoys being able to eat great food from great restaurants. And because cooking for others is one of the big ways she shows her love, it’s something she really cherishes.

Dominick is an ok cook, but is the sort that enjoys making something himself once in a great while. Being the workaholic he was and how dangerous it had previously been in the Monberin-Promethian War, going out to eat at restaurants in a time of peace is a luxury he never thought he’d have. And with Vivian’s knowledge of Earth foods, he delights in her taken him somewhere new. (And so much is new to him, especially at first.) He does enjoy making classic Monberin dishes, especially when they come over to his place.

Fenris is a lot more likely to make something simple (but good) for dinner when he knows they’re busy, but doesn’t feel confident enough in his abilities to make a “date night” dinner. He’s more the sort that notices the take out that a person prefers and will get that for them for a night in.

When the kids are fairly young, Vivian would lean more towards going out to eat. Going out would mean a date night which means that someone (either some of Vivian’s other partners or a family member) is watching the kids. Fenris and Dominick pick up on this pretty fast, so when they have a date night planned they will often have some restaurants to suggest when they plan.

[theoldguardevents]

Hi I got two different writers writing for my art/prompt, I just wanted to double-check if that means they'll both get the exact piece of art work? Or should there be adjustments so they would both get a more individual piece? thanks

Hi Nonnie — the answer is: up to you as the artist!

But please don’t feel obligated. As we have iterated in the claims email in the polywriter section:

Artists are not expected to create new or distinct artwork for each writer. The proposed artwork for claims is the only piece they have committed to. So yes, by this definition, writers who work with the same art prompt get the same artwork by default.

Artists can create pieces tailored to each writer (or just more artwork to share, if the artwork is general enough or the stories similar enough) if they want.

Writers, you have agreed to share an art prompt when you ticked the polywriter box. Kindly refrain from pressuring your artist to create artwork just for you. They may not have time.

Have fun! And when in doubt, send us an ask✨♥️🔥

[bodiedhorror]

officialballora replied to your post: *slurps chrysanthemum tea out of a tiny cardboard...

Tbh u r a irl hero

I Am The Most Powerful Polywriter

[poly-jnpr]

Visitors

It's become customary for Jaune to take a long nap after every mission. Sometime, if he's lucky, he'll even have someone to curl up with. (Usually Ren, as Pyrrha has a strange objection against taking naps and Nora can never fall asleep in the middle of the day, even when she's dead tired.)

So he was asleep, having a rather nice dream if he does say so himself, but he was alone in the apartment today. The others either out on missions or visiting friends out of town. Jaune doesn't blame them, he did come back two days earlier then expected after all.

So he was asleep. Until he wasn't.

Sloth, the old stray Nora had dragged home almost a year ago, was barking loud enough to wake the whole damn city and Jaune really should get up because they can't afford another sound complaint but he really really doesn't want to.

It was such a nice dream.

With a sigh Jaune heaved himself up out of bed, shoulders slumped with the lead weight of exhaustion. The floor is cold under his feet, even through his fuzzy socks (a gift from Ren for Christmas years ago).

The barking doesn't let up, even as Jaune yells at the mutt to please keep it down. (The look of utter disappointment in the other threes eyes when he first swore at the dog will haunt him forever. But honestly it's nothing against the dog, Jaune just swares at everything that keeps him from precious hours of sleep. With obvious exceptions.)

He sighs as he heaves the door to the living room open. "Has Nora been feeding you pancakes again?"

"Jaune?!" The voice is familiar except how it wasn't. He hears it almost every day in the echoes of memories and a much older women. An older Ruby.

Who is standing in his living room, along with Ren, Nora and....himself? All of them a good two decades younger then when he last saw them. And hey, younger him even still has both eyes. Lucky bastard.

All four of them stared at him in open bafflement, frozen in place, weapons half raised.

There is a long moment of shocked silence. Then Jaune, him him, not young him, turns back to the room to get his scroll. "I'm going to call for pizza, Ruby and Ozpin. In that order. Just take a seat any where and leave the weapons on the rack by the door."

[polysucks]

Sandor Clegane and Jorah Mormont: Broken Men and the Paths to Redemption An analysis of how Sandor Clegane and Jorah Mormont’s treatment of Daenarys Stormborn and the Stark sisters reveals their overlapping sense of duty and morality

An Essay by Polysocial

Word count: 1,849 Time to read: 6 - 15 min CW for the usual asoiaf themes, the defense of Sandor Clegane and the depiction of Jorah Mormont as a fuckin groomer. Also the victimization of the underage women in ASOIAF. Also bad jokes. and I repeat myself alot. i have no beta im just a loser with a word processing program, a liberal american education, and too much time on my hands. You've been warned.

Sandor Clegane and Jorah Mormont are two men defined by their flaws, shaped by their circumstances, and searching for atonement for two extremely different reasons. Though their lives and choices are distinctly different, both wrestle with their own personal definitions of loyalty, self-worth, and the complexities of their relationships with the women they intend to protect. Their opposing paths shed quite a bit of light on the nuances of obligation, devotion, and the struggle to find meaning in a world that often seems devoid of it and the goreghe does an excellent job exploring the vast array of tones and shades in the beauty and the beast trope he is so evidently fond of.

Sandor Clegane: The Hound’s Bitter Sense of Duty

The Hound is a man defined by violence not only by his own design as a defense mechanism but also perpetuated by how he is treated before he even has a chance to open his mouth. From a young age, he was conditioned to believe his intrinsic value as a person lay in his ability to serve others through the only thing he knows holds worth in providing—brutality and violence. The Clegane family name, elevated to nobility through merciless service to the Lannisters, set the foundation for Sandor’s cynical worldview. His scars—both physical and emotional—are a demonstration of his brother Gregor’s cruelty and the dehumanizing system they are forced to exist in that values strength over compassion.

Though Sandor rejects the concept of honor (especially when it pertains to him), deeming it a hollow façade for the selfishness of the powerful (I mean, he’s got a point), his actions often contradict his words. His protectiveness toward Sansa and Arya Stark respectively and independently exposes a deeply buried and guarded sense of morality. He serves neither out of duty nor personal gain (It could be argued that he “kidnapped” Arya and took her to the Twins for personal gain, but I ain’t going there rn) but because he recognizes their vulnerability and sees in them a reflection of the innocence he never had the chance to love and cherish before it was ripped from him. This reluctant politesse, however, clashes with his belief in his own worthlessness, creating a tragic tension within his character.

Sandor’s relationship with Arya starkly demonstrates this complexity. Though he often threatens her with violence, his bark is worse than his bite [beat for applause]. His threats serve as a disguise, a way to maintain control and protect Arya in a dangerous world. The threats he does act on, however, such as knocking her unconscious during the Red Wedding, are harsh but motivated by a twisted sense of care. Sandor views himself as a necessary evil, someone who must act as a shield against greater horrors (one that was never offered to him), even if Arya herself resists his help. His dynamic with Arya mirrors his own self-perception: gruff and crude on the surface, but marked by an underlying love and genteel that he cannot fully suppress—no matter how hard he tries.

Jorah Mormont: Privilege and Self-Inflicted Exile

Jorah Mormont’s life is a stark contrast to Sandor’s [dodges tomatoes]. Born into privilege as the heir to Bear Island of the north, Jorah squandered the opportunities granted to him. His downfall—selling poachers into slavery to fund an extravagant lifestyle—was a choice born of greed and desperation, not necessity. Unlike Sandor, who was forced into servitude by circumstance, Jorah’s exile and subsequent loyalty to Daenerys Targaryen are the consequences of his own failures and choices he made with personal goals in mind.

At first, Jorah’s service to Daenerys is self-serving, a way to reclaim the honor he lost (it’s not even about his family name either like bro ur dad is so disappointed in you and here u go worshipping a fuckin pregnant teenager--). Yet as his love [crowd boos] for her grows, his devotion becomes what he considers selfless, albeit still flawed. His betrayal when he serves as a spy for King Robert emphasizes the infirmity of his moral compass. Jorah’s love [crowd starts waving pitchforks] for Daenerys is both his greatest strength and his greatest weakness, blinding him to the boundaries of their relationship and leading him to undermine her independence and strength in significant ways. Where Sandor sees himself as unworthy of redemption, Jorah clings to the hope that his obsession with displaying loyalty will earn him forgiveness and worthiness.

The Lens of Obsession: Jorah’s Idealization vs. Sandor’s Humanity

Okay hear me out another reason Jorah Mormont and Sandor Clegane are two sides of the same sword [Limp Bizkit – Break Stuff plays ominously from a JBL pill speaker in the crowd] in how they perceive and treat the women in their lives. Jorah’s devotion to Daenerys Targaryen is tinged with an unsettling obsession that often prioritizes her physical beauty over her strength and accomplishments. While Jorah admires Daenerys’s power, he punctuates his observations about her with a fixation on her body and appearance. He deifies her, placing her on a pedestal as though she is more goddess than human— this idealization showcases his incapability to see her as a whole person. (I mean, you could argue that he doesn’t see a single woman as a whole person. He talked mad shit about his wife who died in labor, and then his bitch wife who left him bc she didn’t like the north and bc he only liked her for her tits in the first place). His love for Daenerys, while (one can argue) is genuine, is also possessive, defined by his desire to be the one who protects and supports her—whether or not she wants or needs that from him.

Jorah’s fixation on Daenerys’s beauty exposes the imbalance in their dynamic. While she emerges as a formidable leader, determined to reclaim her birthright and liberate the oppressed (yas queen slay the masters go off), Jorah’s gaze often reduces her to an object of adoration and lust. This dynamic is further complicated by Daenerys’s repeated rejection of his advances. (I mean I can say a whole lot about dany’s sexuality and how she lets her most trusted hand maidens finger her to completion but wont return the Old Man’s advances. AS SHE SHOULD!!!!!! She deserves that. At least ur handmaidens love you girly. And they give a fuck about your pleasure, bc we all know Jorah would just hit it and quit it I bet he doesn’t even know women can have orgasms what a loser) She values him as an advisor and ally but does not reciprocate his romantic (AHEM! Sexual!) feelings. Jorah’s inability to fully accept this boundary leads to moments where his actions undercut her autonomy, as he seeks to align her decisions with his own desires.

In stark contrast (THIS IS MY TED TALK I WILL REPEAT PUNS IF I WANT!!!!), Sandor Clegane never idealizes or deifies Sansa or Arya Stark. He treats them as vulnerable young people in need of protection, not objects of desire or symbols of purity. Even when drunk and speaking bluntly about Sansa’s coming of age, Sandor’s observation is neither predatory nor obsessive.

“You look almost a woman… face, teats, and you’re taller, too, almost… ah, you’re still a stupid little bird, aren’t you?” – Sandor, ACOK: Sansa II

Sansa, from her own perspective, notes that Sandor’s demeanor, though rough, is not threatening. Despite his intimidating presence and harsh words, he is surprisingly gentle with her, displaying a rare restraint that compares dramatically with the violent world around them.

Sandor’s treatment of Sansa and Arya reflects a vital difference in how he views not only women, but the people around him. He sees them as human beings, shaped by their circumstances and vulnerabilities, rather than as ideals to be worshipped or possessed. For Sandor, Sansa represents innocence and a longing for the kindness he never experienced, while Arya embodies resilience and defiance. He respects their autonomy, even as he takes on the role of their protector. Unlike Jorah, who seeks validation and redemption through Daenerys’s love, Sandor does not expect gratitude or recognition from the Stark girls, nor does he ever once make that claim. His acts of protection stem from a sense of morality, not a need to earn their approval or affection.

Jorah’s idealization of Daenerys ultimately reflects his own insecurities and selfish desires. (UNHAND THE UNDERAGE GIRL!!!!) Sandor does not see himself as a hero, and he does not attempt to force his guidance upon the Stark girls. His loyalty is unspoken, and his protectiveness is practical rather than symbolic.

Ultimately, the difference lies in perspective: Jorah loves an idea of Daenerys that is inseparable from her beauty and his longing for her, while Sandor simply recognizes the humanity of Sansa and Arya. Where Jorah seeks to possess, Sandor seeks only to ensure survival.

Parallels: Redemption Through Relationships

Despite their differences, both men find paths to salvation through their relationships with Sansa, Arya, and Daenerys. For Sandor, protecting Sansa and Arya offers a chance to defy the cruelty of the world that shaped him. His actions reveal a taste of honor he claims to disdain, even as he refuses to believe in his own worth. For Jorah, serving Daenerys becomes a way to atone for his past mistakes, his love [Fred Durst is hyping the crowd up for my subsequent ass kicking] for her driving him to act in ways that he considers selfless, but are clear to the readers (though probably not to dany, as all we see of Jorah is from her perspective) is objectively self-serving.

Yet, their redemptive arcs are far from straightforward. Sandor’s rough treatment of Arya and his constant growling threats mask a reluctant kindness, while Jorah’s devotion to Daenerys often borders on possessiveness, revealing his inability to fully respect her independence. Both men are broken, their flaws and virtues intertwined, but their journeys show that even the most damaged individuals can find moments of greatness. (which if you have talked to me at alllllllll in dms you will know that this is like. My overarching opinion about this series and how the geurge depicts humanity through flawed characters as a moral and ethical grey area. There is no “good vs evil” there is no black and white thinking.)

Conclusion: The Trained Dog and the Devoted Bear

Sandor Clegane and Jorah Mormont embody the complexity of loyalty and redemption in a world rife with moral ambiguity. Sandor, the trained dog, snarls and snaps but ultimately protects those he cares for, his actions speaking louder than his words. Jorah, the devoted bear, offers his unwavering loyalty to Daenerys, though his love often blinds him to the ways he undermines her autonomy. Both men, shaped by their pasts, find meaning and redemption through their relationships, even if those opportunities remain incomplete. In the end, their stories remind us that even in the darkest corners of the human soul, there is a capacity for change and a longing for something better.

[polysucks]

-sits down next to you at your table with two sandwiches- I think we need to discuss the parallels between sansan and danyrah. Thinking about how sandor doesn't have anything to him but his honor (which he claims is shit, but he protects both Sansa and arya) and how Jorah could have had everything even after finding Dany but instead he decided to throw that away as well. And like!!! You can train a dog and it will be loyal but you can't train a bear!!!!!!!

-Hands you my pickle bc i don't like them, cracks open 2 beers with my fockin' teeth-

you gave me guest right you made a mistake.

I am severely unhinged and I wrote a ~2k word essay on the differences and parallels between sandor and jorah based solely on this ask.

I am so sorry. I am soooooo sorry.

You can teach a dog to follow; its loyalty can be earned through patience or fear, but a bear is a creature of its own will—wild and unyielding; it may walk beside you for a time, but it is never truly yours to command.

[retrocompmx]

Más sobre software de Notación Musical: Finale

Siguiendo con el software de notación musical, y después del éxito con Polywriter, Farrand comenzó a trabajar con Coda Music Technology, donde creó Finale.

Finale (Apple II) se conviertió en un programa galardonado. ha ganado el Óscar por Mejor Software de 2015, y se ha usado para escribir la música de películas como The Aviator, Spider-Man 2, Harry Potter, Ratatouille y muchas más.

A pesar de su entrada poco triunfal, pues los clientes se quejaban del precio, de la inestabilidad y de la interfase gráfica, se convirtió en un estándar de la industria muscial.

Al llegar la versión 3 y con ella la versión para Windows, se convirtió en un "must" entre los programas para músicos y editores de sonido.

De la versión 1 a la 3.72 se ejecutaba en Apple II y Mac con MacOS 4 al 7.1. En la versión 97 (4.0) se cambió la nomenclatura para igualarla con el año de lanzamiento. A partir de la v 2004, solo corria en Windows Vista o superior y Mac OS X.

La debacle vino en la v. 2014 que contenía errores que los usuarios ya no perdonaban tan fácil. Se optó por regresar a la nomenclatura de versiones con la v25. La v27 de 2021 fue la última diponible.

Ante la férrea competencia de Cubase, Notator, Logic Pro, Notion y Sibelius, los usuarios de Finale, le fueron abandonando y fue cayendo en desuso. Para 2024 solo se había vendido 300 copias.

La empresa dueña de Finale, makemusic, anunció el 26 de agosto de 2024, que después de 35 años no se seguirá el desarrollo del programa ni actualizaciones. El soporte solo durará hasta 31 de julio de 2025.

Así se cierra el fin de una era de un software que inició Phil Farrand en 1984 con Polywriter. #retrocomputingmx #codafinale

[retrocompmx]

Un día como hoy (5 de noviembre) en la tecnología

El 5 de noviembre de 1958 nace el programador y webmaster estadounidense Phil Farrand. Es más conocido por crear el software llamado Finale, de notación musical de gama alta y galardonado; así mismo creó el programa Polywriter para la Apple II. #retrocomputingmx #philfarrand

[iapetusneume]

Glabra, Cedrus, Lutea, and Tom - What is their favorite day trip locale?

Despite becoming seasoned adventurers - or perhaps because of it - home has become a lot more precious to them. They’d enjoy going for a hike in the forest for a picnic or to the shore near South Grove (where they grew up).

If they’re feeling adventurous, they’d probably go to Atlantis and stroll in the parks for a bit before going to see a burlesque show.