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    1. A curse in a pot

      by , 07-30-2015 at 06:25 PM
      From a disembodied perspective, I'm watching my IRL self. He's looking for something in this room, currently looking at an illustration of Loki hanging on a wall. The disembodied version of me is curious about the IRL version of me, and I've set up this space in order to observe his reactions. There'd been some previous incident where he'd taken on a sort of ritualized trickster role and unintentionally drawn my interest; he's not aware of me. (Though trickster's not the word I would have used in the dream and it kind of irritates me to use it now, but it's the best way to put it - a sense of something in common between the Loki illustration, the devil statue, my disembodied perspective, and the role my IRL self had played.) I've just now come to the conclusion that the thing that originally grabbed my interest had to do with taking on different roles rather than something inherent to him. This doesn't make me any less curious, but it alters the situation. He's now looking at a small black and white sculpture of the devil, and I switch to his perspective while he's holding it.

      As my IRL self, I'm interrupted by the arrival of several IRL people. Eventually I wind up standing over a large pot with one of the women, and she's stirring whatever's in it. She calls me by the wrong name, and I correct her, annoyed. She repeats my real name, and makes a promise involving it, talking about dire consequences for anyone who violates this promise. Afterwards she describes the pot as holding the curse she's just spoken.

      Updated 07-30-2015 at 07:01 PM by 64691

      Categories
      non-lucid
    2. Samael in the company cocktail lounge

      by , 10-16-2014 at 05:51 PM
      I got on an elevator expecting it to go up, this being the ground floor - there's only one floor above us, and only arrows instead of floor numbers. But it went down. I wonder how many basement levels there are. I reach to press the up arrow, saying something about my mistake to the woman still on the elevator with me. I'm new to this building. We talk about the company a bit as the elevator continues down, about finding your way around the various floors, and various luxuries that are provided for employees. I mention soul-selling and Satan, meaning it as a joke, but she talks about Satan fondly. We reach her floor, and she leaves.

      My point of view switches to follow her - she walks down a hallway into a club. Her brother who goes by the name of Beelzebub - a fake name, it's really Samael - is lounging around with a cocktail glass in his hand, some glowing blue drink inside. He's a pretty man with long dreadlocks, wearing something black covered in stylized eyes in red. The woman's removed the pale coat she was wearing on the elevator, and the dress she's wearing underneath matches her brother, black and covered in stylized eyes in red. They consult about someone he describes as "a friend and a most simple prize."

      (Woke up. Back to sleep.)

      There's this swirling black mass of many colors, like an oil slick, lit up from within like lightning seen from above. I'm eager to dive in immediately - it's a portal - but I'm also thinking I should stop and go lucid first. As I'm torn between these two desires which are apparently conflicting, I wake up.

      (Side note: that last was a reaction to trying reality checks. As a rule I'm not interested in them, but I have a lot of false awakenings that I tend to just spend dream journaling and I thought I could put reality checks to use there. So today I tried a reality check as I wrote that first dream up, and apparently this sort of thinking is the immediate result - associating lucidity with stopping what I'm doing to perform an action. Nuisance.)
    3. Fallen angels

      by , 09-23-2014 at 06:25 PM
      There's a group of people camped out in a field. One of them's a veteran of multiple wars, very old now, and she's berating a young man who wants to leave. He's frightened; he's heard of traps, innocuous-looking pieces of paper which will curse the reader to be killed, or else to kill others until you die.

      (Woke up. Back to sleep.)

      A mother and daughter in the center of a crowded throne room, with a royal baby (not either of theirs) in a basket. The daughter quickly steps to the basket and announces that like a sister she'll tend to the child with loving care. This is a calculated move. She wants it to appear to the crowd as if she's being a good loyal subject, and to appear to her mother as if it's part of their secret political power grab. The truth is closer to the former - the daughter has no interest in ruling and is trying to spare the child's life without making her mother suspicious of her.

      Fragment - I'm someone describing the differences between those who fell more recently, the Grigori, and the first fall "for pride or love or whatever we're calling it now."

      False awakening. I'm writing down a previous scene. In it, I'm someone in the lobby of a place where I work, and Satan's just walked in to see me. There were a number of things I wrote down as being off about his appearance - the last thing I wrote was that there was snow still on his shoes - he'd become human. I'm kind of torn about how to react to this. On the one hand, this is bad news for me - whatever happens to him affects me too. But on the other hand, this is hilarious.

      (Woke up. Back to sleep.)

      I'm someone in an abandoned warehouse, talking with a fallen angel about his plans. We don't get along. As he's talking, a portion of the roof caves in, and through the hole I can see a human woman up there who's been listening to us. He knows her; she's part of his plan, but she's been opposing him. They have a brief shouted conversation; he says, "You won't hurt me, Jane."
    4. Back from hell

      by , 05-14-2014 at 05:17 PM
      I'm a guy sitting at the counter in a bar. I'm here a lot, I live nearby, maybe in the same building. I'm talking with a younger woman who's sitting to my right - brown ponytail, in her 20s maybe, someone I rely on. I say to her, "You weren't there (meaning Hell), but you know I was there. That's comforting to someone who (don't remember the exact wording for this next bit, but it amounts to trying to stay out of the nuthouse. Implication being that otherwise he'd start doubting his sanity, think his past was a delusion.)" She cuts me off by kissing me. It's a first, it takes me completely off guard.

      Over her shoulder, I see my wife (widow, rather - his wife from before he'd died) sitting a few stools down with her boyfriend or fiance or whatever he is. She doesn't know me - or rather, she 'knows' me, casually, as the false identity I've been using since I came back from Hell; she doesn't realize who I was before I died, to most people I look like a completely different person. But even without knowing me, she's looking at us now and looking disgusted. She and the guy she's with get up and leave.
    5. Possession and the dead

      by , 04-21-2014 at 07:14 PM
      A woman has another woman tied to a tree, and is spreading caviar on her face to attract animals to eat her. She's interrupted by some panic among the people she's working with. People are transforming into creatures - from what they're shouting, I have the impression that it's mostly insects, but when I switch to first person, the only transformation I actually see is a bird emerging from a woman's shoulder and flying away. Mostly I just see panicked people running away.

      I'm leaving too, with several others, at a calmer pace. I look down at my bare feet, and notice that the girl whose body I'm possessing has decorated her toenails in Satanic symbols - not just painting them, but actually growing them into horn-like shapes. I comment on this to one of the people I'm walking with, although I'm careful to phrase it as if I'm the real owner of this body, not something possessing her.

      Still in that body, I'm at a club with a woman named Pepper. I'm wearing sunglasses - it's night, but I need them to protect myself from the electric lights. I'll take them off when we're outside. We're leaving, waiting by a coat check or something similar, when we're approached by two men, one of them hitting on Pepper, the other hanging back. At first I'm irritated, but then I remember that I'm using a female body at the moment, and I realize the other guy is playing wingman. I'm amused. Since Pepper seems interested enough, we all leave together.

      We briefly stop by my IRL house, and when I look in a mirror, I see my IRL self, although my reflection isn't mirroring my actions. Pepper calls for me to hurry up, calling the name of the girl whose body I'm possessing for the first time - Julie. Outside, it's dawn, the clouds are starting to change colors, so I put my sunglasses back on. There's a large car parked outside - wingman's in the driver's seat, Pepper and the other guy are in the back. I get into the passenger seat.

      We drive past several rundown-looking houses, and the guy in the back seat asks me if they're haunted, this being my neighborhood. I say sure, a house that looks like that has to have a few ghosts around. I'm not being serious, just humoring him. He goes on and on about the dead, and he's beginning to irritate me - he's attempting to show off his knowledge, but it's not particularly impressive. He says that he can speak to the dead more easily than others because he still has all his canine teeth - I have an image of one tooth behind another, like adult teeth behind baby teeth, though he's an adult. He says they make a point of telling you that they're dead. And he asks me something about dead and dreams - I didn't catch most of the question, too much background noise, but I assumed he was asking me if I'd ever been visited by the dead in my dreams. I say, sure - I may not know much about talking to dead people, but dreams I can do.

      Wingman calls my attention away, asking for directions - left or right here? It's not even really a fork in the road, the road we're on just curves right and another road splits away, but I guess it might look confusing if you're not used to it; I tell him to bear right. The guy in the backseat offers me and Pepper beers from a cooler, and asks if we find him creepy, with all that talk about dead people. I say no, the talk about dead people's fine, it's the way you talk about getting me and Pepper to drink that's creepy. Pepper agrees, but she's laughing about it. I was only half joking. Even the wingman agrees - the guy's phrasing is odd, as if he's trying to get us incapacitated. We hit a bump in the road and he spills some of his own beer on the upholstery; I tell him he better clean that up, although I'm not at all sure who owns this car. I'm certain it's not him.
    6. 'He's not going to forget' and missing pages

      by , 02-19-2014 at 10:49 PM
      Various non-lucid scenes: two immortals discussing faith and religion while rummaging around one's kitchen; the owner of the kitchen and her mother are both christian, and I'm surprised and intrigued since I hadn't found that to be very compatible with physical immortality. Rose and Martha meeting all the past incarnations of the Doctor in the TARDIS. There's some fantastical mystery involving spirits, and I was tasked with demonstrating the rational, physical origins of the events - the drama with the spirits is still considered real, but as a sort of reflection of the physical world, not actually physically present there - however, now that I believe it's all been solved and wrapped up, I'm asked a series of questions that force me to go through and reevaluate all my conclusions, suggesting there may be another answer. IWTV references, thinking about Lestat's life-has-no-more-meaning-what-if-i-could-give-you-a-new-life speech, resulting in a bit of an IWTV-themed power trip. That ended in an unpleasant party, which I left and returned to my IRL home.

      In my home, looking out the window I've noticed various construction or roadwork or similar workers out in the street, and one of them's walking up the driveway. I move away from the windows since I need to go put some proper clothes on, but before I can do anything more than that I hear two of them inside the house, just in the next room. I'm aware that when I deliberately moved away from the windows, they'd mistakenly believed there was no one home and came inside. So I step into sight now and ask them wtf. They're surprised to see someone home. They talk briefly to each other. One of them says, "He's not going to forget. How do you want to do this?" After that, the two of them raise tools as if they're weapons - one of them's holding a hammer, the other a mallet - and although I'm aware this is a dream (I'm thinking as if I knew it all along but felt no need to act on that knowledge before now), I have difficulty defeating them or removing them. In that case, I decide to summon up something to remove them for me - I think of a dragon. One doesn't appear, but instead, as a direct result of that thought, I have a feeling that I think of as "a part of me that hasn't been fed," and with a voice much deeper than my own I say "Get the fuck out of my home," after which I see fire. Then I'm looking at the fire from a distance - I'm somewhere outside, and neither the burning cottage I'm looking at nor the scenery has any resemblance to my IRL home, I've completely changed scenes. Despite this, I believe that I've succeeded in removing those two from the house and feel satisfied.

      False awakening. I'm in a bed - not one I'm familiar with IRL, though I believed it was in a relative's house - and I reach for my dream journal. I can't find an empty page to write in, and I realize this is an old journal, one I'd already filled up. A few pages have been torn out.
    7. Fragments

      by , 01-15-2014 at 12:19 AM
      Dune-based, a Fremen leader has just died and everyone's chanting the name of someone they're choosing for the new Naib, a well-respected middle-aged man known for being level-headed. But they're interrupted by Paul and Jessica, performing some Bene Gesserit trick with light that makes them appear god-like, a move to take power over the Fremen. It works. I find it extremely distasteful.

      My IRL mother weighing a desire to give up physical possessions against the potential uses for the land she owns, and considering an apiary.

      A wrong number from an angry woman looking for a Melissa. (Not the one from the myths specifically, but still presumably inspired by the apiary bit.)

      I'm looking at a digital folder labeled 'Eric'; none of the files inside have anything to do with him.

      An earlier, lower-budget movie version of Barbarella.

      A variety of nautical references: ornaments shaped like ships, a trip to the beach and a mention of pirates.

      A painting of pale, black-haired elves with ravens on their shoulders, in a park.

      Two homeless men, one with a dog, the other a preacher standing on a wooden crate, arguing about Jesus and whether or not he spent a lifetime as a cat.

      "So ever shall be considered the gardens of Biblios."
    8. Hooded figure in the mirror, angels and vampires who fell

      by , 01-14-2014 at 12:47 AM
      I'm standing in front of a row of elevators with reflective gold-colored doors, and in a sort of voiceover I'm hearing what sounds like an article about a scientific study of reflections. There's a lot of information that sounded reasonable at the time but didn't actually translate to waking life - for example, your eyes perceive this angle of motion and expect an impact that never comes, causing tension, and resulting in your attention focusing on this or that minor detail. As I get into the elevator, the article is saying something about there being two different ways to think of reflections which both carry different benefits, and it goes on to explain the two ways. I find this interesting and decide to experiment with switching to the other way of thinking, which is viewing your reflection as a separate person, even expecting it to talk. Acting on the article's advice, I address my reflection on the mirrored elevator wall. My reflection's a great deal taller than me, and completely covered by a hooded cloak. I find I like him - or it - a great deal.

      (Woke up. Back to sleep.)

      Some vague fragment involving briefly passing through an exhibit to do with planets, and something about Artemis.

      There's a woman who's determined to hold onto the hand of some monstrously deformed figure who keeps trying to shy away. She's thinking about how she's been through some kinds of transformations in the past herself, so it takes more than some monstrous appearance to frighten her off. The monstrous one's thinking something about Cain, and something about two angels, one in favor of allowing the other's creations - humans - to develop variations of themselves (which is to say, to have children); the one who created them was opposed; and now he's found his downfall in a relationship with a human, which wouldn't have happened if it hadn't been for that decision, allowing the humans to develop into new variations.

      (Woke up. Back to sleep.)

      There's a man who's been running through the halls of a house and now reaches a dead end, a study with a portrait, which I briefly thought was a mirror. A man who's been following him at a walking pace comes into the room and starts talking about the portrait, and about the history of the man in the painting, who was - is? - a vampire. He says, "They forgive him the very thing he (something)," and then something about "fell." Meanwhile the man who'd been running is stumbling around the room with his hand over his stomach like he's been injured, saying "Please!" There's a resemblance between him and the portrait.

      Updated 01-14-2014 at 12:51 AM by 64691

      Categories
      non-lucid
    9. Vampires, beheadings, and crows

      by , 11-29-2013 at 11:39 PM
      In a wild west-inspired setting, there's someone called 'the Kid', although he's a grown man with greying hair and wrinkles. I'm watching him ride a motorcycle out of town, and I'm thinking that although he may not be a Kid, it'd also be wrong to call him a man, since he's not human.

      There's a man and a woman in some kind of storage space, looks like an attic. She's asking if he's ever even tried moving to 'a real town' and setting up 'a real life,' the way she says other heroes have done. He's surprised she called him a hero and says she's got the wrong idea, and that he's not even human. As a third person observer, I'm thinking how cliche he is, the self-loathing vampire hero type. I focus on his appearance for the first time - a man in a red coat, with a face that reminds me of some actor but covered in scars and boils, and I'm thinking that at least this one's not pretty.

      There's a dead guy on the floor between the two of them, and now he wakes up. The guy in the red coat picks up this huge sword with a curve in the blade which I associate with beheading, and he says something about how what he really wants isn't 'a real life in a real town'; what he wants is this weapon, automated, on a massive scale. The dead guy says something about being grateful before his head's taken off.

      There are people arguing in the town square. The guy in the red coat gathered everyone here and is standing up on a wooden stage trying to talk to them. One person says, "You act like one of 'em, the game's won!" 'Them' meaning vampires, and 'won' meaning won by the vampires. The person he's arguing with says, "You resist 'em, the game's won!" Everyone seems to think it's hopeless. While the guy in the red coat is focused on them, he doesn't see the burned and headless body which is crawling out of town.

      (Woke up. Back to sleep.)

      Dracula, a girl, and a priest/vampire slayer, in a field in daylight. Dracula's kneeling, and the priest's saying that He often seems to hear him and know what's needed. In response, black shapes fill the sky, blotting out the sun, which Dracula doesn't like at all. As a 3rd person observer, I'm thinking about how this is an interesting switch; normally you'd think of darkness favoring vampires, but Dracula was fine with sunlight. The girl says something about sending him to hell, but she's got it backwards; the priest isn't in the business of damning souls. On closer look, the things blotting out the sun are crows; and then among them appear the souls of all those he'd turned.
    10. Rock candy and classified files

      by , 10-27-2013 at 10:05 PM
      Fragment of a previous scene involved a boy covered in words and strange designs related to a demon (or demons). Now, elsewhere, his father's poured something over himself which causes his flesh to melt and transform him into the image of a demon. Another man speaking to him says "Why did you do it?" "Because! I wanted to know his pain!" 'Him' referring to his son. The other man says something to the effect that this was a very foolish thing to do.

      (Woke up. Back to sleep.)

      The words "If you could know, wouldn't you?" and a paramedic getting annoyed at a woman who keeps trying to kill herself.

      I'm standing in front of a checkout counter, looking at the rows of rock candy, picking one out and talking about nostalgia with the woman behind the cash register, the vampire who made me. I ask her how far back her memory goes, and she says she still remembers her mother. Talking about some other vampires, we agree that their method is much more sensible than ours, them being able to make more than one vampire, which is something we can't do unless the previous one dies; we can't support more than one at a time.

      (Woke up. Back to sleep.)

      Something about a 'Lazarus Door' for resurrection, and fog and some kind of danger.

      A car that won't turn off. The owner's already taken the key out of the ignition, and for a moment I wonder how it's still running, but then I wonder why I thought keys in the ignition have anything to do with turning a car on or off. We take the car into the woods.

      A fragment involving two teenage kids in the woods transitions into a sort of flashback showing the parents of one of those kids, back when they were still alive. They're both some kind of doctors or scientists, the wife has this mass of curly hair, and they're sitting at a table in some kind of office or lab and going over a file acquired by the husband's brother, while he stands across the table from them. The brother is "not like others," which is related to whatever the husband and wife are working on, and he's frustrated by working together with them, he's used to his freedom.

      On the file they're looking at, there's a stylized drawing of two humanoid figures, one with the head of a bird, the other the head of a wolf, and although the husband and wife don't realize this, I'm aware that image represents the two teenagers from the previous scene, who are "not like others" in the same way as the brother. The wife is saying, "But what's really (some word meaning something like 'strange' or 'unusual' or 'notable' or 'attention-grabbing') here is that the bird has a Double Hartford rank, ten pages in. I can't open it up."
    11. Vampires, religious debates and underground tunnels to fantasy worlds

      by , 09-21-2013 at 06:48 PM
      A newly-made vampire is sitting in a car parked in a garage early in the morning, and is refusing to get out of the car because he's afraid of the patches of sunlight in the garage, he's sure he won't be able to avoid touching them. He's a full-grown man, blonde, bearded, looks Scandinavian in ancestry. The driver, his maker, a dark-haired woman, is calling him a big baby and telling him he'll just have to take his chances.

      (Woke up. Back to sleep.)

      IRL friend S. is working with a theater company connected to a shop, which stocks videos of their shows although those videos are out of the way and most customers don't realize the shop and the theater company are connected. They're talking about having to close down (not sure if this refers to the theater company or the shop or both).

      A traveling woman reporter is commenting on some serial killer with an MO related to books, and observing that his trail coincidentally matches up with her travel patterns, she's joking about being suspected herself.

      A man and his daughter in a forest, the man had some oath with a bird, representative of the forest, and now there's a deer leg wrapped in parcel paper lying on the ground by their camp, violating that oath. He didn't kill or butcher the deer, that was someone else, but the parcel paper was his, borrowed, and this is going to lead to misunderstanding and enmity between him and the bird. The man and his daughter are leaving, she's objecting because it's not their fault but he insists that they don't argue, just go.

      I'm in my IRL mother's home, and ranting to her about that previous scene, which is now thought of as a Bible story. I'm opposed to its message - the final moral and point of the story is different, but this scene here, designating man as something separate from nature, is something I'm deeply frustrated by and I don't care that it's not the focus, I consider it irresponsible storytelling.

      My mother's deeply religious Christian IRL neighbor is visiting her with his two sons (the neighbor does have two sons IRL, but these two DCs bear no resemblance to them). Although he's not offended, he says that I should focus on the main message of the story instead. I had no intention of starting a religious debate and am happy to let the subject drop. His youngest son, on the other hand, has gotten angry and wants to prove the point to me. I find fanaticism attractive on him. I'm aware he's both attracted to and deeply uncomfortable with me, thoughts about queer issues and gender issues on my mind. He comes to the window where I've been standing and lifts a rock outside and throws it into a tree. (With his mind, apparently - there was some awareness that this was dream logic, and that if we'd been outside he would have just used his hands.)

      The conversation moves on to safer topics but I pull him aside, ask him what that was meant to prove. We go outside so he can finish making his point. He leads me over to his father's yard and shows me a hedge covered in red berries concealing a small tunnel leading underground. He seems afraid, but he says he's determined to make me a believer. He's so worked up about this I don't have the heart to tell him I'm already a believer, just not his variety of believer - this isn't the atheism-vs-theism debate he thinks it is - but that's all right. I'm still thinking about queer/gender issues when I get into the tunnel ahead of him.

      In the tunnel, I'm a girl (who, in the dream, I thought of as resembling the oldest Narnia girl - she doesn't particularly, but this scene reminds me of 80's fantasy movies in general) crawling on my hands and knees, while the boy with me is sitting on the grass outside, worrying. The dream 'camera' briefly switches to 3rd person, allowing me to see the boy, myself, and just around a bend in the tunnel, a door, open just a crack, showing a dimly lit room with a woman dancing inside, the Queen, and it's the inhumanly beautiful Queen I want to get a glimpse of, although the boy is convinced this is a bad idea. Back to 1st person, I reach the door, peer through and see an image as if the dream 'camera' has zoomed in, focused on the Queen's lips painted so dark they're nearly black, her throat, her decolletage, and an awareness of ornaments of frozen drops of water or tears, telling myself I must remember every detail of this.

      There's either a false awakening or a partial-awakening where I'm lying in bed 'recording' this dream, only to realize that I'm not physically writing anything, after which I actually did wake up and 'continue' writing right where I'd 'left off', the part where the boy threw the rock.

      Updated 09-21-2013 at 10:22 PM by 64691

      Categories
      non-lucid
    12. Valerian root and blue lotus

      by , 08-27-2013 at 05:52 PM
      (After valerian root was mentioned in a previous dream, I looked it up and found it was used for insomnia, and gave it a shot in an effort to get my sleep schedule back in order - I've been going to sleep around 6-7 am, a good 2-3 hours later than I prefer. Marvelously effective tea, managed to get to sleep before dawn. Predictably, dream recall was terrible - but since I'm only using the tea to help me get back to my usual sleep schedule and don't intend to use it long-term, that's acceptable.)

      Just the one fragment: an image of an absurdly beautiful man representing either St. Michael or Apollo, with a comparison between the blue of his eyes, the blue-within-blue eyes of Dune, and the blue lotus.
    13. Sliding scale of Supernatural morality

      by , 08-18-2013 at 11:25 PM
      I'm playing the role of Dean, and I'm tired of listening to the way the demon wearing our father's face is talking about Sammy. The Fallen, the man in the white suit - that's really the way you things see him, isn't it. That's not him. That was never him.

      Different time, same character, similar rant about morality and our role in the world. Except this time I seem to have worked myself around to the opposite point, that by trying to destroy monsters we've become monstrous ourselves, and I'm tired and bitter and when I'm done talking Cas says with this look of revelation, "damn, we are evil!" He's laughing, and I agree. "Yeah, Cas. You too." And I shoot him. That's been a long time coming. The guy we'd been hunting down escaped during this, but he's arrested by the cops outside. Julia's tied to the chair where he left her, and I look at her and wonder if we can still separate her from the evil thing possessing her - I think of it as a part of her.

      Earlier dreams and fragments: attempting to get to a Halloween event and running into one problem after another, with a few IRL people and places appearing; and a protest or strike at a memorial service.
    14. Bounty hunting, Buddha, and Lucifer.

      by , 08-16-2013 at 08:31 PM
      Bounty hunters, or at least people who do odd jobs including bounty hunting. A member of my team, Regina, comes back to the motel we're staying at to tell us she's got a job at a local bar, which solves our immediate money problem. She's been trying to talk us out of hunting down that bounty we've been focused on. There's another woman who left the team over this bounty, she wouldn't talk about it but it seems like she had some personal connection that none of us had known about until she left.

      Scene changes, that woman's come back, taken care of whatever business she needed to take care of. She's a beautiful, melancholy woman, and as we drive out of the city she's reflecting on all her memories, 'some bad, some good, but all worth having': her and her orphaned brother, the threat of war, their childhood determination to end war; a white Cadillac with fins, and the driver, a man who'd just struck it rich, tossing money into the air.

      A few fragments: a thief who became a Buddha, and how that story's changed over time. Lucifer going through a Bible and scribbling out words here and there.
    15. Vampires, holy books, alchemists, and Starks.

      by , 08-14-2013 at 08:30 PM
      I've been blamed for a crime I didn't commit, and if I'm going to avoid being staked, I have to find something before dawn. I thought I knew where it was, but I was wrong. Dawn has come -

      - but I've managed to buy myself a little extra time. Same setting, new backstory: this is all a game. Someone on the staff by the entrance, without realizing it, let slip the location of my final goal. But in order to reach that goal, I need an intermediate piece of the puzzle, a Bible. I find it - it's not an actual Bible but a book of many different passages, one of which looks like a Bible quote, and a few words are written in red, reminding me of one of St. Germain's codes. It's in Swedish. I head back to my room to translate it, but I lose the passage and can't find it again, and flipping through the pages, I find -

      - a family tree representing the Baratheon family with stag symbolism, with a crown for Joffrey. I'm Jaime, sitting in a pit of a jail cell as I turn the pages, with the Starks looking down on me, and one of them suggests in an almost sympathetic tone that I've lived long enough. So many days down, so many more to go.
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