Blue_Opossum

Morning of April 6, 2017. Thursday.



For a short time, it seems that I may be at some sort of lecture (with an unknown backstory). The one talking is the Temperance Brennan character from the “Bones” television series. She is wearing a white lab coat. Curiously, there is a wall halfway to the left side of the scene where she seems to sometimes speak from behind it at an angle.

She leans out and mentions something about “flying colors” (in a serious tone) which I perceive as an important phrase.

A female cartoon character, who vaguely reminds me of a Peanuts comic strip character in overall appearance (though not any specific one), jumps up to the left and yells “Ee-glah!” at her. Temperance Brennan backs up in surprise and annoyance to go back behind the wall.

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Directly after waking, I am thinking that “flying colors” is not really a common expression as first perceived and that my dream was just generating gibberish. However, looking it up, I remember that “with flying colors” means “with great success”, though I do not recall hearing it much.

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Last checked and enhanced Tuesday, 25 July 2017: On “failed flight waking symbolism”, I have repeatedly stated that waking symbolism of this type, being inherent to the real-time dynamics of the dream state, is unrelated to the conscious self and real life for the most part. Despite the fact that the preconscious initiates the waking transition by saying something about “flying colors”, which means “with great success", the emergent consciousness factor (as a cartoon) forces her back behind the wall (which relates to metaphorical divisions of consciousness). It may seem contrary or contradictory to use “with great success” with a negative phrase such as “failed flight”, but in this scene, it is how it is rendered in the context of my dream and actually implies success (or otherwise I would not have awakened, get the picture?).

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Night of March 23, 2014. Sunday.



This was a recurring nightly dream from several days from this date; quite vivid, and which gave me a rather unusual sense of “childlike security” and comfort for some reason. It involved the cartoon series “The Flintstones” but it was mostly just an alteration of the opening scenes (the scenes involving Fred’s car only); quite redundant, but with subtle continuous variations - by them being underwater (seemingly at or near the bottom of the ocean) and having a sort of “bubbly” audio. Sometimes the car seems to float upwards a bit, and the “yabadabadoo” sounds rather amusing underwater and bubbles flow out from Fred’s mouth. (The real-life theme song also sounds muffled, but clear enough to understand the words.) Of course, it does not make any sense in any way, but seems almost emotionally fulfilling in some ways, regardless of how ludicrous the implications are. It also seems three-dimensional rather than flat as if I am a present but passive part of the “real” environment.

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This is a form of water induction and water mainly symbolizes sleep in a dream (and sleep dynamics based on the nature of the water). There is the added association that one beginning of “The Flintstones” showed them going to a movie theater and waiting for the movie to begin, which validates the nature of this sustained induction (as watching a movie can be analogous to passively watching one’s dream as I am here).

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Afternoon of April 4, 1996. Thursday.



This turned out to be an odd combination of the otherwise very common “return flight” type, subtype “failed flight”, for the waking transition (though both bird and airplane symbols are integrated in this one). It also uses the bomb metaphor as the waking trigger (which is sometimes linked to a hypnopompic event though not in this case). Bombs sometimes are triggered by or linked to a real noise in the environment (even a barely audible sound depending on the state of consciousness at the time), though that is not always the case.

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I am watching Baby Huey (the cartoon ducking) in an unusual movie (which I assume is fictional). Airplanes are bombing the area but only to get to him for whatever reason. (It seems he may be considered a threat by the military.) Sometimes I actually seem to be present but there is no direct threat to me.

Baby Huey, in the last part of the last segment, hardly notices an atomic bomb (a common dream cessation symbol) that is dropped in the area. It seems a bit strange that everyone else in one region is apparently wiped out yet this annoying cartoon duckling remains, randomly walking around, mostly oblivious to the chaos around him.

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There are a couple layers here that add to the overall meaning. Huey is technically a flight symbol (though cannot actually fly, so represents the band of liminal space closest to full consciousness - additionally as such since him being a cartoon represents the dissolving dream state or its instability) though is also a play on the UH-1 Huey Helicopter, which is where the notion of war and bombs comes from. This is an odd middle-ground of different flight symbol types in conflict, as if I am subliminally trying to decide whether to keep sleeping or to wake up. The baby association may also be partially influenced by our son. Huey is yellow so may also relate to dawning consciousness (as the sunrise symbol) during the transition.

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Morning of September 15, 1969. Monday.



As I ride my crowded southbound school bus on Highway Seventeen in early morning, there is a vague recall (without lucidity) of how I sometimes daydream (in real life) that my school bus is a rocket going to the moon. This becomes the case in my dream, though my school bus remains of the same appearance. I feel the sensation of my school bus moving through the sky.

My classroom is in the same building, yet rendered as being on the moon. I sit in my classroom in the left-most row of desks in about the middle of the row, facing south. Farther to my left is a large singular window (not a real-life feature).

Instead of an outside view, it seems to be a chemistry laboratory (even though I had been vaguely aware of the moon’s surface viewed from this window, the ambiguous change probably a result of a dream reset). The Disney cartoon character Emil Eagle is there, picking up and pouring from test tubes, seemingly planning something questionable, likely with bad intent, perhaps even an intent to poison all the students and my teacher (an unfamiliar female). (However, he may be trying to create a “hair-growing formula”, based on a comic book story I had read a few times. Emil Eagle first appeared in “The Evil Inventor” in May of 1966 as a balding industrial spy that sought to steal Gyro’s hair growth formula.)

My teacher and classmates do not seem to be aware of what he is doing or even that he is present. I eventually discern an unpleasant odor, which is much like asphalt. I consider that the teacher and students might think I had passed wind, with a vague contemplation of the word “asphalt” as “ass fault”. However, I also consider that the odor is real asphalt from outside, unrelated to Emil’s experiment. I worry about the odor and hold onto a concern about possibly being poisoned by noxious gas, yet I do not leave the classroom or express my concern to my teacher, as I might be blamed for disrupting the class.

I still contemplate passively pointing out that Emil Eagle is responsible for the odor (in case someone else says something first). I consider that they might think the odor is caused by smoke from a nearby fire or (as in real life) the supposed factory fumes from Nocatee (which was sarcastically referred to by schoolmates as “Skunkatee”). I neither make the connection that Emil Eagle is only a villainous Disney comic book character, not an entity I would ever see in real life, nor do I consider that being on the moon is unusual.

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Non-lucid dream control is evidenced by the association with daydreaming and my dream self not being surprised by my dream’s otherwise impossible events. Additionally, the main factor of this dream reveals non-lucid dream control in my partial modulation of the liminal space divider’s (the window’s) autosymbolism that is otherwise a result of vestibular system correlation (and liminally anticipating it as a negative consequence as evidenced by an ambiguous sketchy flight symbol rendered as Emil Eagle, as it has always been very common for me to have liminal anticipation of the waking process, typically experienced biologically as a falling sensation, as renderings of birds, airplanes, or related factors). All of the other dynamics, including the odor itself, have literal associations.

Emil Eagle is this dream’s preconscious factor (which is often personified), always uniquely rendered. Non-lucid manipulation of liminal space barriers (or dream state “bulwarks”), the division between dream self and waking self identity, has been a very common factor in my dreams since early childhood, probably the most common form of non-lucid dream control other than generic summoning.

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Years after this dream, in ninth grade in high school, I found myself in a very similar classroom, sitting in the same orientation as I was in this dream (of which at the time did not correlate with real-life orientation of any classroom I had been in). My new homeroom teacher for this term reminded me of the otherwise fictitious teacher of this dream. In real life, this teacher had spent time one morning dramatically complaining before class started, about a bad odor. Considering the hundreds of times when Zsuzsanna and I inexplicably communicated in dreams before we made contact in real life, attributing a factor of this dream to a possibly prescient thread is certainly not unreasonable.

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Morning of November 7, 1975. Friday.



I am focused on both walking through the hallway (related to getting ready for school) and reading the day’s newspaper’s comic strips. There illogically seems to be more than one instance of the Peanuts comic strip though I only remember the contents of one with greater clarity. The style and general look of the art is exact (which is not always the case in these types of dreams).

There are three panels of Snoopy setting up a beach blanket and umbrella. In the last panel, is only the shape of Snoopy’s head implied to be covered with beach sand as his body from the neck down is also in the ground itself. A thought balloon clearly reads “I hate the sand”.

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As is often the case, this relates to coalescence and the waking stage. The sand covers him “at the end” (projected static dream self perspective no longer viable). I did not find any comic strips that could have influenced this dream unlike my dream where exact remote viewing occurred prior to seeing the same gag in real life (my utterly unexplainable Nancy Comic Strip dream with the exact same gag and wording). Comic strips are ordinarily the downsizing of the dream state to render it static for whatever reason (perhaps a subliminal attempt to “freeze” the dream to remain asleep for longer and yet still with a potential for continuity, the focus from panel to panel). Sand also relates to the passage of time (due to association with erosion), so in a way, that backs up the other implications (in wanting to sleep longer).