#his repressed emotions and abandonment issues creep up on him and he has the whole Thing after which he loses his memory

[simcardiac-arrested]

I am super curious what would you have for de au canon once/if you come up with what you want for it. No pressure tho, it is your fun au.

Idk. I thought Wade and NWB could be a thing in which case it was probably something that NS was initially okay about but then it really drove him up the wall. He probably wanted to tell NWB but also couldn't bring himself to think about Wade or consider even a possibility of meeting him again. Or alternatively he didn't know, he just knew Wade was dating someone. And was completely blown up when he found out during current timeline.

The question is Wade's parents and how did they react to NWB. Harry ends up in police since it was upward mobility for him and Dora and them encouraged him towards this. I am not sure it would be a same situation here since, idk, I think they would hate NWB since let go.

like i said before wade and nwb arent a thing in the disco elysium au because that’s just not what their dynamic is supposed to be. yes i’m well aware that harry/dora is a romantic relationship but i’m not going to make this au 100% accurate to the game, like i’ve already changed the kim & harry dynamic for ns & nwb (because in the game kim & harry are cool with eachother, meanwhile ns & nwb aren’t) so i’m also changing the whole thing about dora into something less romantic but just as mentally ill if not more👍

[lovecaitlined]

On water fairies, Suna’s victimhood, and KaySun’s relationship development

Yalı Çapkını Episode 52 KaySun analysis 🖤

Hey! I know we’re all upset with Suna’s course of action this episode (personally, I do believe the writers are trying to ruin her for the drama and reytings), but on the bright side—we got more KaySun than we ever got before, and more importantly, we got a fragman that suggests more development for our favorite angsty couple.

Suna’s Victimhood and Lack of Emotional Control

Suna has spent most of her life at the hands of abusive men, like her father, Saffet (who her father forced to marry), and even the Korhans. She’s been betrayed by that fck@$$ driver Abidon as well. Basically she knows the trauma of abandonment and mistreatment…much like Kaya.

Suna starts off this series as a very weak and naive character, but thanks to Ifakat’s manipulations, plus Kaya’s encouragement, to a certain extent—she grows the courage to become the master of her own fate, and the captain of her own soul, as that old poem goes.

However, the problem now is this—Suna believes that in taking revenge, she needs to bulldoze everything that is against her. That’s right, she’s now developed a “If you’re not with me, you’re against me,” mindset. While I want to believe that the writers will help change this later on, it must be said that this behavior is alarmingly evident throughout the episode. This is displayed when she gets slightly jealous of Pelin, just because Kaya told Suna not to pull a pregnant woman’s hair…yeah, Suna is really messed up right now.

But you know what else is messed up? Suna didn’t have to do all that with that driver, who, btw, is always preying at her when she’s at her weakest and most vulnerable. Although Suna realizes what she’s doing is WRONG af and pulls away, it’s still a terrible thing for her to have done. We see her guilt when she continuously lashes out at Kaya despite his kindness and support for her throughout the episode.

Suna’s problem is that she seems to think her past negative experiences combined with her need to be assertive cancels out the need for her to be, well, a nice and decent person on the surface. Suna spent her whole life with her emotions repressed; now she’s not sure how to let them out.

Moreover, Suna’s idea of love is not ideal since she didn’t really have good examples for it growing up. I hope she’ll realize soon that Kaya’s kindness is not to be trifled with, and she can’t take him for granted forever. I’m hoping Ifakat works her magic and drills it into Suna’s head—Kaya! Is! A! Near-Perfect! Husband!

Kaya’s Kindness + Making Up For His Mistakes

Kaya has always been empathetic to a fault, despite his clear anger issues and abandonment trauma. After all, he’s stronger—personality-wise, at least—than Suna, not to mention he’s older and wiser and more world-weary to the different types of people in this world. So he knows how to play the game. He’s consistent enough to know that while Pelin is a bad guy, it’s not wise to pull the hair of someone who’s pregnant and carrying the child of the favorite grandchild of the Korhan patriarch.

Now, last episode, Kaya clearly lost control when he felt angry and betrayed by Suna for leaving his side. After all, they were supposed to be a team, and his abandonment issues came creeping up. (Props to him for hurting himself only and never trying to hurt Suna, but that’s still bad behavior). I like to think that this episode is Kaya making up for it. After all, he and Suna struck a deal: That something like this (her sneaking out without telling him) won’t ever happen again. And if there’s one thing about Kaya Sönmez, it’s the fact that he keeps his end of the bargain. So it’s terrifying to imagine what will happen if Suna creeps into betrayal territory again.

The point is, Kaya acted up last episode. And now? He’s trying to make it all up to Suna. He’s gonna show her his best face. Now it’s up to her to show him hers. I genuinely believe he was always going to be Suna’s biggest supporter, seeing as he knows how hurt and traumatized she is from her past. But he’s taking an extra step because he knows how much he scared her last time with him slapping his own face and banging on their wardrobe. He’s trying his damn hardest to build up the trust again, but Suna is a bit oblivious for obvious reasons. 💀

Oh, and let’s face it. Kaya is totally jealous. He may not be ready to admit that he’s fallen for Suna for real (their relationship needs a few more deep conversations and better communication for us to reach that point, hopefully with a good halvet and endgame—writers take notes), but he has a desire to prioritize Suna as her husband and he expects Suna to do the same with him as his wife.

And the water fairy scene was SO cute, btw.

What’s Next for KaySun

So, now we’ve broken down the characters and their motives, what’s next?

Well, the fragman shows what I always expected—that Pırıl may or may not be Kaya’s ex. Perhaps this angsty development will lead to Suna opening her eyes. She’s already been jealous with Pelin before. Now if she finds out that Kaya’s ex is living in the mansion? Well, I’d like to think she’d be getting a taste of her own medicine. The thing is, as I stated earlier, Suna is so wrapped up in her own problems that she fails to see that her misfortune doesn’t make her exempt from giving others the good treatment that they deserve. And I know Kaya Sönmez deserves the world and more.

Personally, I’d like to make sure Kaya never emotionally cheats and that Suna actually realizes how fcking in love she is with Kaya because of her sheer jealousy. And I hope that this is a deliberate parallel, and that she will change for the better and be the one chasing Kaya now instead. (I am in fact going to write fics in which she grovels and realizes her mistake, a la Scarlett O’Hara in Gone With the Wind, regardless).

Oh, and let’s not forget the fortune teller in the fragman. I’d like to think that it’s a sign for Suna to forget her past with that fck@$$ driver and carry on revenge with her future, which is Kaya!

[charmixpower]

How will you rank Winx Club's parents?

Uhhhh I've only gotten to s4 so I haven't seen all their parents but I'll try

Ok then

Parents ranking:

Mike and Vanessa: good parents just trying their best!!! They get the number one spot!! They're tight on cash but they do their best to get Bloom stuff she likes and they're involved enough to go to her school to see if everything is safe for Bloom

Musa's mother: Very good mom. Musa seems to adore everything about her and she left amazing life lessons. When we see the... ghost??? Of her in s3 she does the right thing and over all seems like an amazing mom. We don't see much of her tho

Klaus: good dude, seems like a good single dad

Oritel and Marion: I mean they raised Daphne so they have got to be doing something right? We've barely seen them so no opnion here. They're nice and want to get involved with Bloom to make up for missing time

Timmy's parents: they're probably nice enough people as Timmy seems fine and well adjusted

Helia's parents: their probably also normal enough

Flora's parents: I think they're nice enough people. Flora seems to semi act like Miele's mom so I'm guessing theirs some oldest daughter syndrome going on here, but tbh I think that's more form something happening and Flora parents being unable to help Flora and Miele instead of just being neglectful since Flora never shows signs of abandonment issues

Tecna's parents: who do you think got Tecna into the habit of repressing her emotions?

Musa's father post mother's death: Dude seemed to genuinely scare Musa as a child with smashing shit right after Musa's mom died and was willing to sabotage Musa's education because she got to perform a concert while still working towards a lucrative job. But he seems to be close with Musa and hes willing to change and was genuinely just trying to help. Good intentions horrible execution. He goes here I guess ???

Brandon's parents: no thoughts head empty. Brandon's whole job is to be Sky's body double because Sky has assassins on him, and their in highschool. Which means that Brandon's parents sent him away to theoretically get killed in place of Sky at 15. But like?? Brandon could of been taken away forcefully, or his parents could of been clouded by propaganda and not really concider the fact that Brandon is there to die in place of Sky. Or! They thought that it was super unlikely that he'd get killed and wanted Brandon go get ahead by getting in with royalty and getting the benefits of their money. I really really want to see them and have the explain why they sent Brandon away to the castle in the first place knowing that he could die so young

Morgana: she just didn't tell Roxy their related till the last second huh?

Nabu's parents: Neglectful as Nabu was raised by his security team

Radius and Luna: Very emotionally neglectful. Stella was, according to her, raised by maids, and Radius used Stella's ball to announce his wedding!! Luna didn't even show up!! I can believe that Radius actually cares but is very emotionally oblivious and should of never had a child (it's clear that he cares but doesn't understand how having a kid works in s3 which explains but doesn't make anything he does any better), plus Cassandra manipulating him, but Luna is not there like at all. At least Radius makes a half hearted effort

Teredor and Niobe: So pressuring and expectant that Aisha ran away. I also think they were emotionally cold towards Aisha as she clearly has a craving for personal bonds that it's implied that she never got outside of Anne. Aisha's needs were completely ignored or banned. That's some horrible parenting

Samara and Erendor: these two do not care about anyone, genuinely. They seem to see Sky more as a pawn than their son and I'm pretty sure they were willing to let Diaspro die. They didn't even notice their own son was under mindcontrol....these two creep me out and just seem like they'd be actually evil behind closed doors

Whom ever the FUCK raised the Trix to be like that: fuck em

Riven's parents: we haven't seen them but fuck thoese guys in perticualr. Riven in s1 was 16, and teenagers tend to base their world view off of what they learn from their parents. Seeing how Riven's mother abandoned him, I'm imagining that Riven's dad is just a way worst version of s1 Riven bc he had to pick up those opnions from somewhere and that's normally how it happens. You cannot convince me that Riven's weird attachment to his masculinity wasn't caused by someone constantly bothering him about it

Uhh that's my opinion I guess? This list feels very nonsensical and I apologize for that

[vaguely-concerned]

UNCHARTED THE LOST LEGACY REACTIONS

- fsaldfsldfsdljfsaj It’s. So. Gay!!!!! Holy shit!!! Like at several points my sister — less prone to picking up on these things than I am — turned to me and went “So they’re in love, right? They’re ending up together?” and I just squeaked and waved helplessly at the screen because… what other explanation can there possibly be at this point. Every time they touch each other’s shoulders or reach out to steady each other my soul leaves my body etc

I hope the end of the elephant scene is foreshadowing that there’ll be a trilogy and they’ll get together and adopt a kid and gore anyone who tries to mess with them (Chloe is already That Mom taking pictures of every damn thing, it’s written in the stars)

- tfw Nadine starts calling Chloe by her first name *promptly dies, happily*

- We are so completely two for two on picking the games that perfectly suit my tastes because Uncharted 3 is a parental substitute/father figure story and The Lost Legacy is a partners becoming Partners falling in love story and those are literally my two most aching narrative weaknesses

- I LOVE that Nadine is That Animal Nerd Girl from your class (“Monkies!”), except also a stone cold killing machine when she needs to be. I wonder if we got to know more about her relationship with her dad in U4? Because from her assumptions around Chloe’s father it sounds like she really loved him, making it all the more painful that she feels like she ‘lost’ his life’s work on her watch :(

- The fact that Nadine took approximately two hours to go from ‘who the hell is this hothead madwoman trying to get us both killed’ to completely charmed by Chloe’s whole being is… truly amazing, inspiring, I feel the warmth of the Iris flowing through me

- Chloe’s weird-ass expressions are everything. Her face moves like… three times as much as it needs to and it’s glorious. At first I thought it was the facial animations in general that were a little off but then they introduced other characters and no — no, they all look very plausible, it’s just Chloe’s features being made of rubber lol. (I actually found some of Asav’s animations to almost be too realistic, to the point of being creepy. Also just b/c he’s a creep)

- I was sort of afraid that I wouldn’t like Sam, but as it turns out… he’s a useless piece of shit disgrace to humanity and a sleazy catastrophe of a person and it’s the funniest shit I’ve seen in my life ha ha, I have accepted him and whatever the hell it is he thinks he’s wearing. I can’t BELIEVE Nate is the responsible, more well-functioning brother, what the fuck

(also the people around Nate crime-babysitting his brother now that he’s out of the business is HILARIOUS, I hope they stay true to this direction of comic relief)

- The contrast of Chloe’s father losing himself to the obsession… while Chloe is here to save a friend… and ends up saving a whole C I T Y while simultaneously being saved by/saving her future wife… I cri

- One thing that is so great about Naughty Dog games is the way they subtly carry themes of interconnectedness and co-operation —  the main characters are very seldom alone and when they are it’s to set up the contrast to when you’re with the companion characters, to make you really appreciate the desolation. It makes the characters feel so alive and real that they need each other and interact among themselves as well as the environment.  

(actually I’m also playing The Last Of Us right now and istg Joel’s intention to not get attached lasted all of, like… half a day, well done buddy)

(It’s also good fodder for characterization — contrast Chloe’s repeated refusal to accept Nadine’s help until they get closer to Nate, who is his own weird squirrely collection of abandonment issues and emotional repression but relies on his friends, even clearly expecting Sully and Elena to be there when he reaches out for them… wait no… I am now very emotional… I’m so glad Nadine and Chloe are partners, may they have many years of saving each other’s beautiful butts and helping each other through character development)

- “I looked it up on Wikipedia. Like a normal person” dfahfkdhasklashd I love her so much

- Chloe is such a great character; this cynical, sarcastic, caring mess of a woman has a special place in my heart. There are some scenes where you can practically hear her run screaming to get away from her own feelings and that is very hashtag relatable, and despite her reputation as a backstabber she DOES come back to save her friends time and time again. (Nadine having to drag her out of the train carriage with Asav because even two hundred meters away from plunging to her doom she HAD to get a final sarcastic, thematically appropriate jab in was  e x q u i s i t e )

The scene where Nadine has left and she’s making her way on foot messed me up because she doesn’t even seem hurt, just quietly resigned, like ‘well what did I expect’, thank GOD these girls are so in love that their estrangement lasted all of half an hour and ended in saving an elephant

- The game mechanics are so much better in this one! I even accept the vehicle parts, even though driving in video games is literally my primordial enemy and I usually hate it with my every cell. Being able to actually take out a whole area with stealth was a godsend and surprisingly fun, because the gun fights can be the least inspired parts of this series sometimes

BTW both Chloe and Nate have one particular stealth attack that always makes me laugh my ass off where they jump up on someone like a little monkey from behind and snap their neck and it’s weirdly cute. You don’t even have to be in real stealth, it’s enough to melee a dude from behind when *he*, specifically, didn’t see you coming, so like in the middle of a roaring gun battle you can jump up like ‘maHA’ and do it, adorable  

- This game made me realize just how little I actually know about hinduism. Welp time to read up on it enough to not be a complete idiot ha ha

[shhoatuva]

The Past, The Present, and Future: The Sound of Nayvadius Wilburn’s Declining Mental State

In a 2011 interview with an Atlanta radio station, rapper Nayvadius “Future” Wilburn was offered a career-defining question by the personality sitting across from him. “When it comes to you, as Future,” radio host B-High began. “What is it you want to bring to the Atlanta music scene that we haven’t already seen before?” The question came in lieu of the fact that despite having a chart-topping single in his writing and feature on rapper YC’s “Racks,” and releasing two mixtapes in the months prior to the interview, Future hadn’t yet completely distinguished himself from Atlanta artists who had the flame of their early careers smothered. “Stadium music, music with melody, something with a whole different feel.” Future replied after a short pause. “I just go off the vibes, it just has to grow with me.”

The idealism of his musical aesthetic being attached with growth as an individual soon set a precedent on the sonic and lyrical trajectory of Nayvadius Wilburn’s music. Life experience served as the most influential aspect of Future’s discography, and negative or positive “vibes” best serve as an indicator for his work’s persona. Future’s music would gradually depart from the utopic “stadium music” aesthetic and seep into a sound that was much more based around raw emotion, not necessarily a sound that was supposed to invoke emotion from a listener, but a sound that was much more telling of Future’s emotional state at the time of a song’s recording. Future’s sudden departure from an artist that meshed elements of cheery pop songs with trap music mirrored his departure from happiness. The subject matter and aesthetic in Future’s projects from 2011 until the present demonstrate the impact of his sudden rise to fame, the onset of a traumatic criminal history, the status of relationships with various women and his children, and the detrimental effects of copious drug usage.

Soon after the release of the mixtape consistently referred to in the interview between Future and B-High, “Dirty Sprite,” Future went on to release a mixtape titled “True Story.” The mixtape would include several of his more notable hits, like “Magic,” “Ain’t No Way Around It,” and “Tony Montana.” Lyrically, the songs are all predicated around a repeating chant based on the title of the song, making use of “economic” verbiage within a limited amount of beat. (Caramanica) This economic usage of lyrics would ensure the probability that these songs would become popular as a result of their simplicity and memorable world structure. With the exception of the choral arrangement on the intro to the mixtape, Future sings the choruses with assistance of a, while still minimal, noticeable dosage of autotune. Autotune had been proven throughout the past decade as an ingredient that could help distinguish one’s music from others, if used correctly. Future’s usage of auto tune throughout his early career took on an innocent appearance, as his voice was mastered a pitch above normal, assuming a lighthearted, radio friendly presence not completely parallel to the subject manner within the mixtapes. Future’s intent to solely separate himself from other rappers, as opposed to complete vulnerability through production and lyricism demonstrated a mental condition that wasn’t plagued by external issues. In comparison to later works, his voice was objectively less garbled, more upbeat, and characterized by the intermittent addition of a singing tone.

Production on Future’s first three mixtapes, including the two that preceded “True Story,” titled “Dirty Sprite” and “1000,” was much far less abrasive than much of the mixtapes circulating around the hip-hop scene, and even farther less abrasive than the mixtapes being released in Atlanta. Tity Boy’s (2Chainz) “Codeine Cowboy,” Alley Boy’s “Definition of F**k S**t,” and Waka Flocka and French Montana’s “Lock Out” were three Atlanta-based mixtapes defined by their abundant usage of 808s and subwoofer-shaking bass. (Richards) Throughout the years 2011 and 2012, Future’s mixtapes made usage of the crooning synthesizers and horns of producers like Mike Will Made-It, Will A Fool, and Zaytoven. The lack of abrasive, harsh production that typically defined Atlanta hip-hop artists during Future’s early career demonstrated a stark contrast between him and other artists. Future’s early work did not include darker, depressive subject matter like his later work. The hybrid formulation of a pop aesthetic with the “trap” lyrical themes would lead to a rapid rise of success for Nayvadius. The first three mixtapes would aid Future in reeling in a major label offer from Epic Records, and much commercial success.

The advent of newfound fame and fortune meshed with upgraded production value on his next project, titled “Streetz Calling.” The first track on the mixtape, “Made Myself a Boss,” used production from Zaytoven that maintained a bubbly and light-hearted tone. Much like the rest of the mixtape, the song uses celebratory anecdotes to remark at the success of his previous projects. “I paid my grandma’s rent/and got my little sister a house,” he urges. “I keep a pocket full of money every time I step out.” While his previous mixtapes fondly reminisced on his days of drug dealing, or combined elements of pop songs with Atlanta trap music, “Streetz Calling” would represent the merriest of work Future would release in the period from 2011 to 2015. The most observable example of this phenomenon would come on the third track of “Streetz Calling,” titled “Same Damn Time.” In a testament to his happiness, Future experimented with a slight departure from the formula that made him so popular: a chorus where his voice was not mastered to a higher pitch. Instead, he barks at the listener in an exaggerated version of his already grizzly voice: “I wear Gucci, I wear Bally, at the same damn time/Selling white, selling mid, at the same damn time.” Much like the subject matter where Future’s song character is that of a drug dealer that buys too much designer clothing, and sells too many drugs, Future was experiencing the byproduct of too much early success. The same departure was observable through the instrumentalism of “Same Damn Time,” which used a drum pattern and bass that typically would be considered too egregious for his earlier work. Future’s dialogue with the listener would assume its most celebratory form in this late 2011 period.

Future grew up in the Kirkwood backstreets of Metro Atlanta, an area that was especially hard hit by the crack epidemic of the 1980s. Many of his aunts and uncles were affected by an addiction to crack cocaine. At the age of seven, Wilburn saw the murder rate in his hometown practically double over a summer. Years later, he was shot in the hand while attempting to sell drugs to make ends meet. (Winegarten) The gradual traumatic effects of this upbringing would creep onto his next project, “Astronaut Status.” Despite attempts to continue to continue the formulaic pop-structure that made him so popular, the influence of a criminal history and traumatic upbringing would influence Future’s sound from 2012 onwards. In a 2012 interview with Rolling Stone, Future stated: “When I was in the streets, I ain’t never think about that, man, f**k tomorrow, n***a, let’s do this s**t today,” he says. “I’m a f****g rock star, dogg. I’m enjoying this s**t, I ain’t trying to remember yesterday.” (Winegarten) His attempt to abandon his history would cause the traumatic sound to be repressed, and only become relatively minimally apparent on “Astronaut Status” in comparison to his later works. While some songs abided by many of the same themes as his earlier work, the lyrical content on “Deeper than the Ocean” and “Itching” represented two notable examples Future’s failure to completely repress the demons of his past. On “Deeper than the Ocean,” Future recites: “My n***a set my n***a up/this game is full of madness,” in memoriam of his status as a dealer in the drug “game.” “Sometimes I want to get inside my Escalade and crash it/my pain is running deeper than the ocean.” The inclusion of suicidal ideations on the song as a result of the stresses of drug dealing was a telling indicator of Future mental state. On “Itching”, Future compares a side-effect of crack withdrawal, itching, to his pursuit of money: “My fingers, they itching, they itching for that paper” he chants. The production on the song is muted, composed of a single lead synth and hi-hat pattern provided by producer Mike Will Made-It. Future’s willingness to draw from his murky past while simultaneously attempting to repress it marked a turning point in his mental state, and therefore the sound of his music.

In January 2013, rumors began circulating that Future was dating artist Ciara. During this time, Future released “FBG: The Movie” in preparation for a then unnamed upcoming album. The mixtape would see a return to the song structure that marked many of his successful early singles, like “B***hes Love Me.” On the song, Future was on chorus duty, reprising his familiar auto tune pitch to talk about the benefits of his sexual prowess, marijuana, and strong alcohol. The coincidence between this return to the pop structure and his relationship with Ciara was evident throughout the entire work. On “Fo Real,” he referred to Ciara: “I met that girl and had to spoil her, cause that girl’s so loyal/I met her when she was a dime and turned her into a quarter.” The note Future sung the lyrics in is higher than the rest of the song. Where the instrumental mostly occupies the tuning note of “B,” Future sings the lines referring to Ciara in a “C to C Sharp” scale, demonstrating his happiness about being with her.

Future’s 2014 album “Honest” would serve as the denouement as the story between Ciara and Future. On the album, tracks “I Won,” “I Be U,” and “I’ll Be Yours” serve as straightforward love songs in reference to Ciara. Future and Ciara were engaged just months earlier, in October 2013. A month before the album’s release, in March 2014, he announced that the two were expecting a baby boy. (MTV News) The restabilization of his mental condition in light of his love for Ciara was directly reflected in the subject manner on “Honest.” The three tracks feature Future singing the entire time, going into great detail about his habit of spoiling Ciara, and the continued commitment to a relationship with her. Future’s vocals were mastered at a high volume, giving the listener an “honest” exposition to Future’s psyche. Unlike previous projects, Future did not make mumbling or garbled language a deliberate part of the odes to Ciara. Instead, clear, elaborate language made up the bulk of the lyrics, marking a departure from the catchiness of his earlier works. Drug innuendos comprised less of all three songs in comparison to the songs on mix tapes past, instead focusing on the characterization of love. Future penned and sung the chorus to a song titled “Loveeee Song,” a song featured on Rihanna’s album, “Unapologetic.” The song paid homage to aforementioned characterization.

In August 2014, just three months after the birth of their son, Ciara and Future broke up. The effect on his music that this had was near immediate. He released three mix tapes within a four-month period from October 2014 to January 2015, titled “Monster,” “Beast Mode,” and “56 Nights.” At this point in his career, Future highlighted his problems via sound with false braggadocio, references to drug usage, and a darker production style. Whereas Honest ended with a glossy testament to love, titled “I’ll Be Yours,” Monster began with a cacophonous Metro Boomin-produced song titled “Radical.” The track begins with a pitched-down sample of an aboriginal didgeridoo, soon followed by the lowest pitched version of Future vocals ever observed in his career. Future’s exposition of anger, pain, and hurt in the months that followed the breakup with his ex-fiancée is apparent in the chant throughout the introductory verse. “Fuck all your attitude, fuck all your gratitude” he begins. In his early work, references to drug usage was only referred to metaphorically or in the pursuit of wordplay, while on the trilogy of mixtapes he released in 2014 and 2015, he goes into explicit detail. “It don’t fuck with my conscience/I’ll serve my auntie that raw,” he recites in a trance-like manner on song “Monster.” The same cocaine addicted auntie that he characterized in an early work and interviews with sympathy is now viewed with hatred, a hatred that runs so deep that he’s willing to sell her crack himself. On the three mixtapes, Future lashes out at the listener (saying that he’ll take their girlfriend on multiple tracks), Ciara, and most apparent, at himself.

Monster served as an initial response to the recent breakup, and track “Throw Away” was the most explicit of those responses. Future creates an interesting narrative as the song only makes reference to stark nihilism, where women only serve as sources of sexual favors, and are as easy to throw away as a “pistol.” Halfway through the song, the beat changes to one much more mellow. “Deep down, I believe you know a monster too.” Future’s bipolar behavior goes from one of hatred to understanding, recalling the multiple times that he did cheat and potentially be the cause of the relationship between him and Ciara ending. “Go on, f**k that n***a, and get it over with,” he instructs her. He wants Ciara to get sex out of her system if that’s what it will take for her to get even with him cheating on her. The song ricochets between a variety of emotions, self-loathing, manipulative, angry, compassionate: an ideal characterization of Future’s deteriorating and nigh-schizophrenic psyche. Future’s vocal volume changes after the beat switch, extenuating upon an impression of a schizophrenic “monster” with no control of his emotions.

The mix tape concludes with “Codeine Crazy,” an ode to his usage of promethazine codeine as a coping mechanism for both the custody loss of his son and his ex-fiancée. The track serves as the most self-aware of Future’s explanations about his depression: “I’m going crazy about it/I’m going codeine crazy/That’s how I’m living it/I’m feeling lovely.” he begins the song. Later, he confesses that “I’m an addict, and I can’t even hide it.” Future comes to a conclusive realization by the end of the mix tape, finding solace in abandoning his mainstream sound and lifestyle in lieu of one that includes a variety of women, drugs, and more visceral musical elements. It is in these factors where Future finds himself most comfortable. The confident nature of his lyrical presentation, ability to switch flows in an effort to garner unique performance, and newfound love for an Atlanta trap style that he attempted to stray away from all demonstrate this phenomenon.

“I can’t change, I was God given/they tried to make me a pop star, and they made a monster.” Future raps on his July 2015 album, “Dirty Sprite 2.” In the months that followed the release of Honest and the breakup with Ciara, Future utilized a grittier sound that marked a complete departure from his pop-friendly works throughout late 2013 and 2014. As opposed to the mixed array of producers used on previous projects, “Dirty Sprite 2,” Future completely depends on the work of young Atlanta producers Metro Boomin, the “808 Mafia” Collective, and Zaytoven. (Epic Records) The album was recorded in Atlanta, produced by producers residing in Atlanta, and mastered in Atlanta, lending credence to Future’s willingness to return to his original sound. Future’s willingness to work with these young producers also cultivated a transformative phase in his sound, considering louder percussions than any of his previous works characterize the beats used on Dirty Sprite 2.

In the investigation of Future’s transformation as an artist in regards to the state of his psyche, it can be noted that there is a methodology to which he abided. In 2011, he stated himself that he wanted to create melodic “stadium music.” In doing so, he subscribed to lyrical content and production styles that were similar to that of most pop songs. The inclusion of his previous life as a drug dealer soon began to reveal underlying thoughts within his subconscious to a small degree within his early mixtapes. However, his relationship with Ciara served as a reason to extend upon this “stadium music” style, beginning to edge into the R&B genre in terms of subject matter. With the abrupt end to their relationship, Future attached that style of “pop” music as a byproduct of his relationship with her. In an attempt to invalidate his failed relationship, Future’s late 2014 and early 2015 discography is marked by a complete reversal on “pop” themes, instead doubling-down on the “monstrous” side of his personality in order to continue his career.

Written by George Adeosun

Photos: Mr. Porter

Citations:

Caramanica, Jon. “Intricacy And Economy.” Village Voice. Village Voice, 11 Jan. 2005. Web. 7 Dec. 2015.

Gale, Alex. “The 25 Best Mixtapes of 2011.” Complex. N.p., 25 Dec. 2011. Web. 8 Dec. 2015.

Weingarten, Christopher. “Future: How Hip-Hop’s Paranoid Android Became a Robocroon Superstar.”Rolling Stone. N.p., 15 Apr. 2014. Web. 8 Dec. 2015.

Staff, MTV. “Future and Ciara Get Engaged.” MTV. N.p., 28 Oct. 2013. Web. 7 Dec. 2015.