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tintenspion · 1 year

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Der rote Kampfflieger

publication history, propaganda value, and different versions

by @tintenspion, December 2022

Der rote Kampfflieger (The Red Air Fighter), published in 1917 and translated in 1918 is regarded to be the autobiography of Manfred von Richthofen. It was, and still is, the best selling german book about the first world war. In this post I will talk about how it was written and published, adress some personally selected instances of propaganda found in the book and explain the changes other publications of the book have made (focusing on the versions of 1920 and 1933).

This post is incredibly simplified and I can recommend reading the sources that I have listed, as they cover the topic in a lot more depth (but they're almost all in german)

Der Rote Kampfflieger, 1917

The publication history

Manfred von Richthofen began writing his biography in May 1917. He had rejected requests writing a book multiple times before, because he did not feel that he had the talent nor the time to write. However, he was asked by the command of the aerial forces to write one and since that was essentially an order he accepted a request by the publisher Ullstein. (1)

Most historians agree that the book was essentially ghostwritten by Hauptmann Erich von Salzmann, who based it on acconts given in stenography by MvR. Salzmann was not credited for the book, however in the contract with Ullstein (the publisher) MvR gave Salzmann full authority over what parts of the stenography he adapts into the finished book, without having to get MvRs consent. (2)

Due to a lack of an original draft, is not reconstructable what parts of the book are actually written by him, which parts were ghostwritten and which parts were edited for propaganda purposes.

The intentions

Ullstein Kriegsbücher, the series Der rote Kampfflieger was published in was a series that focused on "firsthand accounts" of front soldiers, which explains why the book still uses an easy and "uneducated" language despite being mostly written by a ghostwriter. (3) This was done on purpose to make the reader identify more with MvR, since the divide between him and the average reader was already there due to him being an aristocrat. The books also focuses a lot on the fallibility of its main character, Manfred von Richthofen. He is portrayed as a little naive; someone who has no idea how war works and therefore makes a lot of mistakes. Examples include: Capturing french soldiers in a house and letting them escape on accident, giving wrong hand signs that almost get his division killed, failing his piloting exam and hitting his finger on a propeller. This is also done to make him more relatable to the average reader. (4)

The second part of the book focuses then on his life as a pilot and a squadron leader. The book goes out of its way to portray Richthofen as very humble. It is for example described how "in the flying corps we dont think about records. We only do our duty." [DRK p.154]. This is obviously an instance of propaganda, as records and victory numbers were contrary to this statement very important to the individual pilots. To portray MvR's "chivalry", they use a very interesting stylistic device. MvR calls himself a "Weidmann" (hunter) in comparison to his brother, whom he denounces as a "Schießer" (shooter). The word Weidmann, in contrast to Jäger, implies an unofficial hunters code on how to hunt in an honorable way. (5) In modern times, this comparison seems kind of grotesque, as MvR views his enemies as prey to be hunted. Downplaying the death enemy pilots and comparing the dogfights to a hunting situation is a reaccuring theme in iterature written by and about german ww1 pilots and is not exclusive to Manfred von Richthofen. (6)

The most infamous example of editation for propaganda regarding the "honorable fight" is probably the discription of MvR's 33rd victory: In the book it is described that MvR flew low over the downed plane to check if the pilots were dead, they are not and shoot back at him, however he decides to just fly away and not retaliate. (7) In his combat report for that victory however, he described that he did retaliate and killed one of the occupants. (It is notable that, according to Algernon Peter Warren, the pilot that survived, they actually didn't shoot back at Richthofens plane. Warren notes that there was ground fire coming from the trenches, and Richthofen probably mistook that for the downed plane firing at him). (8) Due to the fact that MvR seems to have been truthful in his combat report, it is to assume that the change in the book was most likely done by the censorship and not by Richthofen himself.

Richthofens view on his own book

MvR didn't really care about his autobiography. I believe this for multiple reasons: He says that he is not a good writer (9) and that he rejected writing an autobiography multiple times (as mentioned before). Also I believe if he really cared about how he was portrayed in his autobiography he wouldn’t have given Salzmann the rights to change things without him checking them first.

Ein Heldenleben, 1920

Published under the name "Ein Heldenleben", this was the version that had the worst sale numbers, however it is also the one that includes the most material. It was also edited by Salzmann. (10) It includes the original biography, shortened, and adds about 200 extra pages. Those extra pages include:

"Hinterlassene Papiere" (leftover papers): Excerpts from either letters to his family, his diary or rejected chapters of the autobiography (historically unclear)

A selection of letters to his mother

Excerpts from his brother Lothar

An account about Manfred as a child written by his mother

German, english and french articles about his last flight, death and funeral

Obituaries

Memories of Richthofen: Articles and anecdotes from other people who knew or met him

This book is regarded as the most detailed versions and is free from government censorship. Salzmann in this case only worked together with the Richthofen family, who probably decided what will go into the book and what won't. I need to point out however that some of the articles in "Memories of Richthofen" were already published in newspapers during the war, so those definetly had to pass a censorship comittee. I would still regard this version as the most trustworthy one out of the tree I am presenting.

Der Rote Kampfflieger, 1933

This version of the book is the one that had the most copies sold. It was edited by Hans Rudolf Berndorff. (11) Differences, aside from a couple of chapters having different titles and some chapters having been combined, include the removal of the first two chapters, and the inclusion of four extra chapters, with three of them having not been published beforehand. The book starts with a foreword by Hermann Göring an introduction written by MvR's brother Bolko. It also includes some chapters from his brother Lothar (the same as in the 1920 version, however a couple have been removed). The book also uses some of the letters that were published in Ein Heldenleben and add them to the autobiography (mostly) chronologically.

Especially notable is the often referenced chapter Gedanken im Unterstand (Thoughts in the shelter), where MvR talks about how his feelings towards the war have changed since his autobiography came out in may. The chapter was a letter to his mother, however it has been cut a lot, so we don't exactly know when and why it was written.

This book, in contrast to Ein Heldenleben, focuses more on the military aspects of MvR's life, as it is a part of Nazi propaganda.

Other publications of the book:

There was a version published in 1977, that included the full autobiography written by Friedrich Wilhelm Korff. In 1990 another version was published with a foreword written by Manfred Wörner, a former NATO secretary. I have not included an analysis of these two books, as they “only” evaluate the morals of the latter three. This is an entirely different topic, and a very complicated one, that deserves its own post.

The first english translation was published in 1918. I already made a post about a few translation mistakes, that you can see here.

Peter Kilduff also translated both the 1917 and the 1933 version.

Conclusion

In my opinion, the book is mostly interesting because you can see how the myth of Manfred von Richthofen was reshaped to fit different narratives and propaganda purposes over the course of 80 years. I wouldn't take it as a trustworthy source, especially regarding MvR's feelings towards the war, but I do believe it is a good guideline. Something to be weary of while reading biographies about Manfred von Richthofen or watching video essays about him is when people take the autobiography a little too much at face value and automatically assume that the propagada in it was edited by him personally and not by the editor.

Sources:

(1) CASTAN, Joachim: Der Rote Baron: Die ganze Geschichte des Manfred von Richthofen (2008) ISBN 9783608944617, p. 148f [AN: currently looking for a primary source; this book does exactly what I described in "conclusion"]

(2) SCHILLING, René: Der Körper des “Helden”. Deutschland 1813–1945 In: Bielefelder Graduiertenkolleg Sozialgeschichte: Körper Macht Geschichte – Geschichte Macht Körper. Körpergeschichte als Sozialgeschichte (1999) ISBN 9783895342806, p. 132

(3) SEIDEL, Nadine: Wie man Helden ediert. Ein Ausgabenvergleich von Manfred von Richthofens Der rote Kampfflieger. In: GLUNZ, Claudia; SCHNEIDER, Thomas F. : Dichtung und Wahrheit. Literarische Kriegsverarbeitung vom 17. bis zum 20. Jahrhundert (2015) ISBN 9783847104872, p. 69f

(4) SEIDEL, Nadine: “Nicht 'Schießer' sondern 'Weidmann': Wie ein missverstandenes Ethikkonstrukt Manfred von Richthofen zum Helden werden ließ. In: SEYBERT, Gislinde: Heroisches Elend - Misères de l’héroïsme - Heroic Misery: Der Erste Weltkrieg im intellektuellen, literarischen und bildnerischen Gedächtnis der europäischen Kulturen - Teil 1 und 2 - La Première Guerre mondiale dans la mémoire intellectuelle, littéraire et artistique des cultures européennes- 1 ère 2 (2014) ISBN 9783631636626, p. 748-753

(5) ibid, p.744ff

(6) VOIGT, Immanuel: Stars des Krieges: Eine biografische und erinnerungskulturelle Studie zu den deutschen Luftstreitkräften des Ersten Weltkrieges (Zeitalter der Weltkriege, 20, Band 20) (2019) ISBN 9783110605020 p. 176-183

(7) RICHTHOFEN, Manfred von: Der rote Kampfflieger (1917) p. 126

(8) FRANKS, Norman; GIBLIN, Hal; McCRERY, Nigel: Under the Guns of the Red Baron: The Complete Record of Von Richthofens Victories and Victims Fully Illustrated (1998) ISBN 9781898697961, p.91f

(9) RICHTHOFEN, Manfred von: Ein Heldenleben (1920), p. 330

(10) SCHILLING, René: Der Körper des “Helden”. Deutschland 1813–1945 In: Bielefelder Graduiertenkolleg Sozialgeschichte: Körper Macht Geschichte – Geschichte Macht Körper. Körpergeschichte als Sozialgeschichte (1999) ISBN 9783895342806, p. 132

(11) SEIDEL, Nadine: Wie man Helden ediert. Ein Ausgabenvergleich von Manfred von Richthofens Der rote Kampfflieger. In: GLUNZ: Dichtung und Wahrheit. Literarische Kriegsverarbeitung vom 17. bis zum 20. Jahrhundert (2015) ISBN 9783847104872, p. 72

#manfred von richthofen #ww1 aviation #richthofen #der rote kampfflieger #red baron #history #actual research #i cant believe ive done this #help 💀

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endusviolence · 1 month

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Rowling isn't denying holocaust. She just pointed out that burning of transgender health books is a lie as that form of cosmetic surgery didn't exist. But of course you knew that already, didn't you?

I was thinking I'd probably see one of you! You're wrong :) Let's review the history a bit, shall we?

In this case, what we're talking about is the Institut für Sexualwissenschaft, or in English, The Institute of Sexology. This Institute was founded and headed by a gay Jewish sexologist named Magnus Hirschfeld. It was founded in July of 1919 as the first sexology research clinic in the world, and was run as a private, non-profit clinic. Hirschfeld and the researchers who worked there would give out consultations, medical advice, and even treatments for free to their poorer clientele, as well as give thousands of lectures and build a unique library full of books on gender, sexuality, and eroticism. Of course, being a gay man, Hirschfeld focused a lot on the gay community and proving that homosexuality was natural and could not be "cured".

Hirschfeld was unique in his time because he believed that nobody's gender was either one or the other. Rather, he contended that everyone is a mixture of both male and female, with every individual having their own unique mix of traits.

This leads into the Institute's work with transgender patients. Hirschfeld was actually the one to coin the term "transsexual" in 1923, though this word didn't become popular phrasing until 30 years later when Harry Benjamin began expanding his research (I'll just be shortening it to trans for this brief overview.) For the Institute, their revolutionary work with gay men eventually began to attract other members of the LGBTA+, including of course trans people.

Contrary to what Anon says, sex reassignment surgery was first tested in 1912. It'd already being used on humans throughout Europe during the 1920's by the time a doctor at the Institute named Ludwig Levy-Lenz began performing it on patients in 1931. Hirschfeld was at first opposed, but he came around quickly because it lowered the rate of suicide among their trans patients. Not only was reassignment performed at the Institute, but both facial feminization and facial masculization surgery were also done.

The Institute employed some of these patients, gave them therapy to help with other issues, even gave some of the mentioned surgeries for free to this who could not afford it! They spoke out on their behalf to the public, even getting Berlin police to help them create "transvestite passes" to allow people to dress however they wanted without the threat of being arrested. They worked together to fight the law, including trying to strike down Paragraph 175, which made it illegal to be homosexual. The picture below is from their holiday party, Magnus Hirschfeld being the gentleman on the right with the fabulous mustache. Many of the other people in this photo are transgender.

[Image ID: A black and white photo of a group of people. Some are smiling at the camera, others have serious expressions. Either way, they all seem to be happy. On the right side, an older gentleman in glasses- Magnus Hirschfeld- is sitting. He has short hair and a bushy mustache. He is resting one hand on the shoulder of the person in front of him. His other hand is being held by a person to his left. Another person to his right is holding his shoulder.]

There was always push back against the Institute, especially from conservatives who saw all of this as a bad thing. But conservatism can't stop progress without destroying it. They weren't willing to go that far for a good while. It all ended in March of 1933, when a new Chancellor was elected. The Nazis did not like homosexuals for several reasons. Chief among them, we break the boundaries of "normal" society. Shortly after the election, on May 6th, the book burnings began. The Jewish, gay, and obviously liberal Magnus Hirschfeld and his library of boundary-breaking literature was one of the very first targets. Thankfully, Hirschfeld was spared by virtue of being in Paris at the time (he would die in 1935, before the Nazis were able to invade France). His library wasn't so lucky.

This famous picture of the book burnings was taken after the Institute of Sexology had been raided. That's their books. Literature on so much about sexuality, eroticism, and gender, yes including their new work on trans people. This is the trans community's Alexandria. We're incredibly lucky that enough of it survived for Harry Benjamin and everyone who came after him was able to build on the Institute's work.

[Image ID: A black and white photo of the May Nazi book burning of the Institute of Sexology's library. A soldier, back facing the camera, is throwing a stack of books into the fire. In the background of the right side, a crowd is watching.]

As the Holocaust went on, the homosexuals of Germany became a targeted group. This did include transgender people, no matter what you say. To deny this reality is Holocaust denial. JK Rowling and everyone else who tries to pretend like this isn't reality is participating in that evil. You're agreeing with the Nazis.

But of course, you knew that already, didn't you?

Edit: Added image IDs. I apologize to those using screen readers for forgetting them. Please reblog this version instead.

#transgender #trans history #transsexual #transphobia #Magnus Hirschfeld #holocaust #holocaust denial #book burning #j.k. rowling #jk rowling #just in case you missed what i mean by all this: go fuck yourself anon :)#trans people have always existed #and we will always exist #if you really wanna pick a fight with me over well-documented history then you better bring in some sources to back your shit #queer history #queer #lgbt+#lgbta+#lgbt #lgbt history #edit: i finally got around to those damn image IDs. i am so very sorry for totally forgetting that's my bimbo moment of the month #also real quick i thought about adding an image of the actual building but the only one i can find has a Nazi parade in front of it #it was taken the day of the book burning raid and honestly if i were to include it then i'd add it to the first few paragraphs #and i think the story's better told when you uphold the hope Magnus Hirschfeld and all the researchers he worked with had #also keeps being brought up: yes Hirschfeld was a eugenicist. it was a popular belief set that was only discredited after WW2 #Hirschfeld died in 1935. he literally didn't live long enough to see science turn against those beliefs and practices #considering how he changed his mind on transitions i like to think he would've changed his mind on eugenics too if he'd lived

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tearlessrain · 1 month

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please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

#I found their original stuff while I was researching various waterhorses and their folklore for no reason #because one of the characters in their original work happens to be an each uisge #and then it turned out it ALSO included a lot of figures from welsh folklore in general #so yknow if you happen to have my incredibly specific hyperfixations you'll love it but even if you don't it's great #I didn't mean to bring up phantom of the opera so much it just happens to be very relevant to a lot of my talking points #I haven't actually seen it in years

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ibtisams · 5 days

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I AM DOING A HUNGER STRIKE FOR GAZA

It has been almost 200 days of genocide in Gaza, and during this time Palestinians have been in the worst stage of starvation and famine. Children have begun dying from starvation and malnutrition, and more and more photos of Palestinian children are coming out where the child is nothing more than skin and bones.

Personally, I know I take the food I eat for granted every single day. I am no more deserving of a meal than the children of Gaza, so for that reason me and a few of my friends will be doing a minimum of FIVE day hunger strike in solidarity with my brothers and sisters in Palestine.

We will be starting on 1 May, as to hunger strike safely there is preparation needed. I making this post now in case anyone wants to join me and will want to prepare. I am not doing a dry hunger strike, I will be having fluids and I also don’t believe I will be able to hunger strike safely for more than 15 days for health reasons.

“Sponsor me” on my hunger strike!

If you send me proof of a $50 USD donation to Anera (the equivalent of feeding 180 Palestinians), I will add ONE day to my hunger strike (a maximum of 15 days)

Join me on my hunger strike!

If you think this is something you would be able to participate in, I encourage you to participate in any capacity that you can- as long as you’re doing it SAFELY

Here is a resource I have been following to prepare ***YOU CAN’T JUST START A HUNGER STRIKE BY CUTTING OUT FOOD COMPLETELY AND NOT PREPARING***

If you want to participate, please do your research and do it safely. I am doing this for the Gazan children who don’t have a choice right now, and I know in my heart I owe it to them. There is so much we consider a basic right and take for granted that people in Gaza don’t have access to. This hunger strike is solely in solidarity/raise money for Anera, there is no specific end result.

More information on hunger strikes (and why they needed to be prepared for if you’re choosing to do one)

#in case anyone gets weird about it I am Palestinian #this is important to me #I also am not kidding a hunger strike can go very wrong if not done properly #so if you actually want to do it properly you need to be preparing and doing research #ask box is back open for proof of donations #🦢

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aitadjcrazytimes · 4 months

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#lmao #for anyone who's curious the process went:#send ask to aita official #blog blows up #someone realizes its a chexer fic #i follow them bc they seem cool #i join their rvb server #their encouragement pushes me to finish the Actual Fic i was working on #i expand the fic to be more of a whole au after it comes out much better than expected #the next fic in the au that i work on has to do with a character's brain injury #this leads me to do research into brain injuries #''......huh. this sounds. a lot like the neurological symptoms that my doctors have been saying is just part of my anxiety disorder''#think on that for a while #go to the ER for unrelated reasons #remember my theory #bring it up to the doctor #Doctor Immediate Concern #doctors orders a ct scan #''eeyup! that there's some atrophying and a chiari malformation! y'ever had a head injury''#(i had had several)#''well! shit! time to refer you to neurosurgery :) see if we cant do somethin about all that memory loss and severe pain and shit''#and now we are here #it also lead me to research osddid systems for the first fic #and now my therapist is having me tested for osdd because i did not know that those symptoms were not a thing everyone experiences #so like. thanks for helping me meet friends who could encourage me to engage with the things i like + learn more about myself #^ ^ <3 #im actually not gonna say ''ok last update fr this time'' bc idfk maybe something WOULD be funny to post on here

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inkskinned · 1 year

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the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.

capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.

now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.

and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.

and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.

and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".

it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"

#this was much longer i had to cut it down for legibility #but i do want to say i am aware this post doesnt touch on human rights violations as a result of fast fashion #that is because it deserves its own post with a completely different tone #i am an environmental educator #so that's what i know the most about. it wouldn't be appropriate of me to mention off-hand the real and legitimate suffering #that people are going through #without doing my research and providing real ways to help #this is a vent post about a thing i'm watching happen; not a call to action. it would be INCREDIBLY demeaning #to all those affected by the fast fashion industry to pretend that a post like this could speak to their suffering #unfortunately one of the horrible things about latestage capitalism as an activist is that SO many things are linked to this #and i WANT to talk about all of them but it would be a book in its own right. in fact there ARE books about each level of this #and i encourage you to seek them out and read them!!! i am not an expert on that i am just a person on tumblr doing my favorite activity #(complaining)#and it's like - this is the individual versus the industry problem again right because im blaming myself #for being an expert on environmental disaster (which is fucking important) but not knowing EVERYTHING about fast fashion #i'm blaming myself for not covering the many layers of this incredibly complicated problem im pointing out #rather than being like. yeah so actually the fault here lies with the billion dollar industries actually.#my failure to be able to condense an incredibly immense problem that is BOOK-LENGTH into a single text post that i post for free #is not in ANY fucking way the same amount of harm as. you know. the ACTUAL COMPANIES doing this ACTUAL THING for ACTUAL MONEY.#anyway im gonna go donate money while i'm thinking about it. maybe you can too. we can both just agree - well i fuckin tried didn't i #which is more than their CEOs can say

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kizzer55555 · 15 days

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DP x DC: The Most Dangerous Card Game

Ok so Danny has essentially claimed earth as his. And he is fully aware that there are constant threats to the planet. Now he can’t stop a threat that originates on earth (that’s something he’ll leave to the Justice league) but he can do something about outside threats. Doing some research on ancient spells, rituals, and artifacts, he cast a world wide barrier on the planet to protect it from hostile threats so they cannot enter. This will prevent another Pariah Dark incident. However, barriers like this come at a price. You see, there are two ways to make a barrier. Either make one powered up by your own energy and power (which would be constantly draining) or set up a barrier with rules. The way magic works is that nothing can be absolutely indestructible. It must have a weakness. The most powerful barriers weren’t the ones reinforced with layer after layer of protective charms and buffed up with power. Those could eventually be destroyed either by being overpowered, wearing them down, or by cutting off the original power source. No, the most powerful barriers were the ones with a deliberate weakness. A barrier indestructible except for one spot. A cage that can only be opened from the outside. Or that can only be passed with a key or by solving a riddle. So Danny chooses this type of barrier and does the necessary ritual and pours in enough power to make it. And he adds his condition for anyone to enter.

Now the Justice league? Find out about the barrier when Trigon attempts to attack, they were preparing after he threatened what he would do once he got to earth. How he would destroy them. The Justice league tried to take the fight to him first but were utterly destroyed, so they retreated home to tend to their injuries, and fortify earth for one. Last. Stand. Only when Trigon makes his big entrance…he’s stopped.

The Justice league watch in awe as this thin see-through barrier with beautiful green swirls and speckled white lights like stars apears blocking Trigon and his army’s advance. The barrier looks so thin and fragile yet no matter how hard the warlord hits, none of his attacks can get through and neither can he damage said barrier. That’s when Constantine and Zatanna recognizes what this barrier is. Something only a powerful entity could create. For a moment, the league is filled with hope that Trigon can’t get through yet Constantine also explains that it’s not impenetrable. And clearly Trigon knows this too for he calls out a challenge.

And that’s when, in a flash of light, a tiny glowing teenager appears. He looked absolutly minuscule compared to Trigon and yet practically glowed with power (this isn’t a King Danny AU though).

And that is when the conditions for passing the barrier are revealed. And the Justice realize that the only thing stopping Trigon and his army from decimating earth. The only way he can get through….is by beating this glowing teenager in a card game.

Not just any card game though. The most convoluted game Sam, Danny, and Tucker invented themselves. It’s like the infinite realms version of magic the gathering, combined with Pokémon, and chess. And Danny is the master. So sit down Trigon and let’s play.

(The most intense card game of the Justice league’s life).

After Danny wins, this happens a few more times with outer word beings and possibly even demons attempting to invade earth, yet none have been able to beat the mysterious teenager in a card game. Constantine might even take a crack at it and try to figure out how to play. He’s really bad though. Every time this happens, the Justice league worry that this might be the time the teenager looses. Yet every time, he wins (even if only barely).

Meanwhile, Danny, Sam, and Tucker have gotten addicted to the game and play it almost daily. Some teachers might seem them playing the game are are like ‘awww how cute’ not realizing this game is literally saving the world. Jazz is just happy they aren’t spending as much time on their screens playing Doomed.

#DPxDC #dcxdp #Danny makes a card game to save the world.#Technically he worded the ritual so that they had to ‘beat’ him as those are the most powerful barriers and most reliable.#keys can just get lost or stolen (like the one to Pariah’s Coffin)#A riddle would be useless once someone figured out the answer. Like how no one takes the sphynx seriously anymore.#(Sorry Tuck. But it’s true).#And there is NO WAY Danny is just leaving a hole open for anyone to pass through. No thank you!#So…beating him. But it’s not like Danny wanted to fight so…he edited the ritual a TINY bit. Card games are good. Much less painful too.#Danny Tucker and Sam made the most complicated card game they could imagine.#It’s based on their strategies for fighting ghosts. Capturing them in thermoses. And MUCH based on a on field battle strategy.#It often requires spontaneous thinking on the spot. So Danny? In his ELEMNT. It doubles as practice for his actual ghost battles too.#They had SO much fun making this.#Sam added an entire series of plant cards that act as traps and healing ointments and duds that just take up the field.#Tucker added legitimate hyroglyphics combined with Latin as well as English and ghost speak.#Yes. You actually have to speak that language to play. With proper pronunciation. (Amity Parker’s think the three are talking gibberish.)#I headcanon Sam and Tucker are fluent in Ghost.#Constantine WILL figure this game out SO HELP HIM!#Some of the cards also have combinations related to constellations either in name or placement on the board.#By the way the board is based on a Hexagonal summoning circle with Rhunes along the edges #And the placement of the cards on the board and on what rhune MATTERS.#Also the cards move disintegrate and have certain abilities. Think of Harry Potter Wizard Chess.#But they are normal when Danny plays at school. This is just for ✨effect✨ Against invaders.#Danny faces multiple opponents. He also halts alien invasions.#While Danny COULD stop crime on earth he’s not sure how to fight a normal human and hold back so he sticks to ghosts.#The Justice league are going crazy trying to figure out who this entity is and after deep research are convinced this is some sort of #Ancient being who has protected earth for millenia. They have paintings on ruins and everything.#Danny is not aware they think this.#Raven starts praying to Danny as if he is a god and wrangles the other Teen Titans into doing so as well. Danny is still unaware of this.#Danny is not a King or an ancient. Just a very VERY strong ghost.

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