#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.

[polysucks]

hi!!! 👋 i don’t wanna be annoying but I love ur blog and ur objectively bad takes /s

you bring up some decent points comparing jon and sansa to each other as far as stupid teenager things go. Can you elaborate a little more on Sansa’s mistakes being stupid teenager mistakes? she’s big naive and wears her rose tinted glasses and that pretty much sets the stage for her character and the growth she experiences in the series, but it’s hard for me to believe an 11-13 year old girl {i forget how old anyways she’s youngg 🍼} wouldn’t consider the weight her choices as a future queen betrothed to the heir of the iron throne would hold.

{almost hoping i become immortalized on ur blog when my anon ask becomes the gateway to ur next metaessay♥️💙💜💗💛💚}

HI OH MY GOD YOU'RE NOT ANNOYING, I LOVE YOU.

I can't believe you fuckin losers want to hear more of my objectively bad takes (stealing that one)

And I lovvvveeeee how you approached me with constructive pushback :) I wish I had more asks like you. Ya'll are allowed to disagree with me, and I hope some of you do. I'm a big fan of (constructive and purely conversational) debate! But imma be real w you. I feel like your argument doesn't hold much weight, either. Speaking as a former idealistic and very stupid 11-13 year old girl-- oh my god I could totally see myself at sansa's age and in her position making the same stupid fucking decisions. Does that make them right? absolutely not. Still fuckin stupid.

I've never been an angsty teenage boy, though, so I cannot attest to whether or not Jon is an accurate representation of cringe 15 year old amab experiences but like. having been around alot of cringe 15 year old amabs? yeah. He seems pretty normal, too.

on that note. Lemme be a li'l unhinged and intellectualize this for a min.

Teenage Dirtbags of Westeros: Jon, Sansa, and the Cost of Being Dumb

some get stabbed and some get stuck pretending to be their creepy uncle’s kid

Word count: 924 Time to read: 5 - 9 mins CW for discussions of gender as a binary, Sansa's character arc which involves grooming and Petyr Baelish is his own warning all by himself.

in the books, we can easily see a parallel between how Sansa and Jon are depicted as lame teenagers with terrible social skills and a comical lack of self-awareness (like most teenagers, of not all.) Both characters begin as naïve, idealistic teenagers thrust into new and exciting circumstances that they soon learn are far beyond their control, yet the consequences of their decisions deviate abruptly due to the difference in societal structures and therefore the disparity in expectations placed upon them. Jon, despite making reckless and shortsighted choices, is – for the most part—spared personal, long-lasting repercussions; his errors largely affect the Wall and the Wildlings rather than his own survival or sense of self. In contrast, Sansa’s mistakes carry devastating consequences for her identity and agency, with her naïve decisions rippling through the entirety of the narrative and altering the trajectory of Westeros as a whole. This discrepancy demonstrates not only the fundamentally gendered lens through which these characters’ arcs are written but also the brutal realities of power and privilege in this universe. And honestly, it’s no mistake. I think Peepaw did this intentionally.

Jon’s mistakes as a stupid emo whiny ass angsty teen often stem from his desire to balance his personal beliefs with his borderline quixotic sense of duty. His decision to trust the Wildlings, for example, ruptures his relationships with his colleagues and new forced family and eventually leads to his murder at the hands of his brothers. Jon’s death, however, is implied to be temporary and functions as a narrative tool to reinforce his role as a messianic figurehead of the series (I mean like I could write a whole fuckin thing about this alone and how the inclusion of Beric Dondarrion and the Brothers without Banners’ influence on Arya’s storyline and how Arya by herself can serve as a parallel for Jon--). Though he definitely faces challenges, the consequences of his actions are contained within the Wall and immediately adjacent—a place already isolated from the political machinations of Westeros by design. His mistakes do not permanently alter his identity or strip him of his agency. Sansa’s mistakes, on the other hand, have far-reaching consequences that compound over time, affecting not only her personal arc but the entire realm. Her choice to approach Queen Cersei and beg for the crown’s protection—a decision born of youthful idealism and trust in the chivalric ideals she’s been taught (blame ur father sweetie. Welcome to the club)—sets off a chain of events that leads to Robert Baratheon’s death, Ned Stark’s execution, and the War of the Five Kings and so on and so forth. Like the 9/11 domino effect but for Westeros. Unlike Jon, Sansa’s errors are amplified by her birth status and specifically her gender, as the stakes of her actions reverberate through the political landscape in ways she could never have foreseen.

This disparity is further illustrated through their respective “deaths.” While Jon’s death is a physical one, Sansa experiences a symbolic death when she is forced to throw away her identity at the hands of her biggest groomer (and fuckin Capital L LOSER) and become Alayne Stone, the bastard daughter of Littlefinger [crowd boos]. Sansa’s transformation is a worse fate because it robs her of her sense of self, forcing her to live a life of manipulation and abuse under the guise of her abuser’s ward. Peepaw even emphasizes this loss of self by titling her perspective chapters as "Alayne" rather than "Sansa," (I cry errytiem) reflecting her inner turmoil as she begins to think of herself as someone other than a Stark. (I mean you can argue that Sansa’s loss of identity began at the Crossing when she was robbed of Lady and you would be correct but this is my meta essay get ur own soapbox. And tag me if u do.) Jon’s (potential) resurrection allows him to return to his true self with renewed purpose, while Sansa’s erasure underscores the brutality of her circumstances and the grotesquely gendered nature of power in Westeros. Sansa’s narrative arc illustrates how the consequences of her stupid teenager mistakes are magnified not because she is less capable than Jon, but because the world she inhabits punishes women far more harshly for what this society considers to be faults. Her suffering and eventual growth reveal the oppressive structures that shape her life, while Jon’s arc—though compelling and holds significant weight narratively and I’m not trying to argue it doesn’t—remains largely insulated from such systemic inequities

The unequal treatment of Jon and Sansa’s naivety is not just a reflection of their personal arcs but of the broader structures of power and gender in Westeros. Jon is allowed to fail without the world collapsing around him because he exists on the fringes of society as a bastard and a member of the Night’s Watch. Sansa, on the other hand, is punished brutally for her mistakes because of the immense weight placed on her identity as a Stark and a daughter and her role in the political machinations of Westeros.

This discrepancy highlights the systemic inequality at play in the series: Jon is afforded the space to grow and learn from his mistakes, while Sansa is stripped of her agency, identity, and autonomy. Her suffering is not just personal—it is woven into the fabric of Westeros itself, as her mistakes become the catalysts for larger political and social upheaval.

[polysucks]

re: your post about "pathologizing" the fandom what the fuck do you mean there will be an end to the books grrm will finish the series.

You mean this post? damn bro how far did you dig on my profile that post is literally 32 days old who are you.

You also seem to think I'm implying the gewlrghe will never finish the series. I don't care if he does, or doesn't. Who am I to insist an artist ever finish any of their work? Who are any of us to pressure an artist into moulding their work into something we want when we want it? The nature of art is to be made and to exist, not to please others or provide a platform--those are just cool by products. My whole point is that if we don't get a tangible or traditional "ending" to the series, I would feel perfectly satisfied with that, because the series doesn't end. but honestly, yeah, I'd be more than happy to elaborate. (threat)

Your Fave Will Never Win: ASOIAF is a lesson in futility

Because history doesn’t stop just because you want it to

Word count: 967 Time to read: 5 - 9 mins No major CWs except for my opinions, which are classified by the SCP Foundation as optic hazards

The allure of the Gieroge’s worldbuilding lies in how vast it is. it's a story woven into the fabric of a world that stretches across millennia, encompassing the rise and fall of entire civilizations. But what sets this series apart from more conventional fantasy narratives is not simply the extent of its history or the intricacies of its politics (you can find politics and drama in any series—HBO’s Succession would look right at home in ASOIAF world. if someone writes that au @ me i want that so bad please please please). It is the fact that the story doesn’t promise resolution in the traditional sense.

And really, it never actually ends.

To explore this, we first understand the foundational concept that Westeros—and by extension, the world beyond its borders—exists as a continuum. The history of the lands, the stories embedded within its past, present, and future, are a reflection of the cycles of human ambition, triumph, and failure. These cycles began long before the events of the [main series] and will continue long after. They echo the inescapable truth of the series: life goes on. It is an unbroken thread, indifferent to the victories or defeats of its characters.

Consider the framing of the narrative.

We are presented with a snapshot—a single, albeit momentous, chapter (for lack of a better term) in the history of this world. The War of the Five Kings and the struggle for the Iron Throne may seem central to the story being told when it comes to what the viewers are able to see on the pages before them, but they are just one strand in a sprawling tapestry that is the entirety of the story of the land. Westeros (a name I’m using generalized for the entirety of the encompassing world) endured the Long Night and the Age of Heroes; it withstood the doom of Valyria and the conquest of Aegon I. The tale that the geotgre chooses to tell is not about finality, but about the ongoing churn of history, the weight of the past pressing against the present, and the inevitability of future change.

This is why it’s a mistake to approach ASOIAF as though it has an "endgame" in the conventional sense. The idea of closure, of a definitive conclusion where all threads are tied and the world settles into a stable equipoise, is antithetical to the world the Geroeighe has built. Were the series about achieving that kind of resolution, it could have ended with Joffrey inheriting Robert’s throne. After all, one king succeeded another. “Order” was restored—however cruel and imperfect. But the series shows us, time and again, that crowns change hands, dynasties fall, and the wheel of power turns endlessly. There is no single victory or defeat that halts this wheel.

The obsession with infighting and being an endgame enthusiast within the fandom arises, in part, from a desire to impose structure and resolution onto a story that inherently resists both. (just like we see about real life history in discussions like why we don't teach CRT in schools. Like this is a serious point to make while having this discussion, but I digress.) Fans often debate who "deserves" to rule or which character’s arc leads most naturally to a victorious conclusion (and I am guilty of this as well, you can have both--that's allowed u know). But such debates miss the point: ASOIAF isn’t about "winning." It’s about the cost of pursuing power, the corruption it more often than not results in, the ephemeral nature of dominance, and the ways in which individual struggles are subsumed by the inexorable march of time.

One might argue that the true thematic heart of the series lies in the seasons—the cycles of summer and winter that govern not only the physical world but the lives and legacies of those who inhabit it. Summer will end. Winter will come. And after winter, there will be another summer. It’s fundamentally cyclical. Humanity’s victories and defeats, its loves and betrayals, its wars and peaces, are all bound by this rhythm. The Long Night—perhaps the ultimate existential threat in the series—is not an end, but a reminder of humanity’s fragility and resilience within these cycles. The struggle against the Others is no less significant for its place in the timeline, but it is still a chapter, not the final word.

This cyclical nature calls into question the very notion of finality. The Targaryens may have lost the Iron Throne, but their legacy lingers in the ashes of their dragons and the bloodlines of their descendants. The Baratheons rose to power (if you can call it that...), only to fracture and crumble under the weight of their own shortcomings. The Starks, Lannisters, Greyjoys, Tyrells—all are players in a game that predates them and will outlast them. The Iron Throne itself is merely a symbol of transient authority, a prize for those willing to bleed for it, yet ultimately irrelevant to the tides of history.

So why does the story endure? Why does it resonate so deeply with us as the audience? maybe it's because the jorge's world mirrors our own in its refusal to offer pretty little endings or simple truths. The conflicts of Westeros feel real because they are ongoing. They resist resolution because resolution—true, lasting resolution—is a myth. The world goes on. New summers dawn, new winters threaten, and the cycle continues.

In this context, the “endgame” of ASOIAF is not about who sits on the Iron Throne or who triumphs over the Others. It is about the recognition that there is no such thing as an endgame. The story’s power lies in its refusal to conclude, its insistence that life, with all its complexity and contradiction, marches forward. It is this refusal—this infinite sprawl—that makes this shit show of a series a masterpiece. It reminds us that the stories we tell and the worlds we build are bigger than any one conflict, any one moment, or any one ending. They endure, as they always have, and as they always will.

[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.