• Lucid Dreaming - Dream Views




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    1. Injustice, Mazikeen

      by , 09-06-2015 at 06:35 PM
      As mostly my IRL self, I'm following a news story about a court case. The girl on trial is a minor, but the people involved in the case keep talking about her as if she's an adult; there's racial connotations. Her outlook is not good. As not-exactly-my-IRL-self, I'm thinking this is an injustice. I've allowed them long enough to work this out themselves, they've had their chance; I'm going to step in and remove her from this ridiculous trial. There's a connotation here that this means dropping everything going on in my life. I'm nearly out the door when IRL-self stops to wonder exactly what I think I can do.

      I'm standing in a dimly-lit, brown-toned library where I'm meeting Mazikeen for the first time in a long time. The dreamer part of me is critiquing the way the dream is representing her half-alive half-dead status; the parts of her without skin are tinged green, and it crosses over her body, so that her left arm and right leg are dead. I think of this as a clumsy representation of the life/death mix. The character part of me is remembering seeing her a long time ago, when she'd just been made immortal and she'd been elated about it, saying that she'll be able to continue to serve as long as I need her. I'm wondering whether she'll think what I'm doing now is worth serving - or rather, what I'm not doing now; I've abandoned certain ambitions.

      Updated 09-06-2015 at 06:37 PM by 64691

      Categories
      non-lucid
    2. The translation of a book and old negatives

      by , 08-21-2015 at 06:00 PM
      Setting loosely based on China some centuries ago, vaguely Ming dynasty. Two men have been speaking to a human woman about a book, but they're interrupted by a human man who is a friend of hers, of sorts - he offers to join their expedition. He has some manner of expertise to do with this book they're looking for, and if he comes along, the woman's presence would be unnecessary. The leader of the two at first is ready to agree, this would be much preferable.

      But the human man then says, why should his cut be only 10%? Make it 100% - he'll keep the book himself, but translate it for them. To his mind, this would be a better deal for all of them, he expects this to be accepted. But the leader of the two is offended by his presumption and kills him, abandoning his human appearance in the process - his eyes are covered by a cloudy grey film, his teeth are fangs on both upper and lower jaws. I'm remembering a year earlier, when that human man had been doing something in a place where many books were stored, directly above where this man had been sleeping in the ground for a long time. The human woman, watching him kill her friend, blames herself - she was involved in something that happened in a market a year ago, when this man woke up.

      Belle is in the kitchen of someone else's house, someplace that has servant quarters, and she's found a jar of a certain weed that's been spilled - it's not something that should be used for cooking, it's dangerous, causes disfigurement. The implication in finding it spilled across the counter is that a servant was carelessly exposed to it. It's said that it only affects those who say rude/cruel/insulting things while holding it - a physical disfigurement to reflect a disfigurement of the soul. She calls Rumplestiltskin to dispose of it safely, and to look into what it was doing there.

      As he removes it, he looks around the building and sees old photos and negatives of him and Belle among various trophies that the owner of the house has collected - there's a sense that these photos are things that were stolen from him. He looks at one in particular, a moment when he'd stopped Belle from saying that she loved him. He regrets this, and says he would listen now. She says, "I would have meant it then." And wouldn't now, is the implication. But she stops him from moving away from her by grabbing him roughly by the hair.

      She tells him her plan is to find her ideal world this time, with the money that Regina left her, and with him, as they're stuck together due to a previous deal. He reminds her that he's no longer capable of appearing human, which will cause difficulties in many other worlds. "I'll work with it," she says. A previous deal requires him to leave at least a piece of himself in this current world, and I see an image of his hand chained to the sand, in the surf.
    3. Sparrow

      by , 08-18-2015 at 08:52 PM
      I watch the magician enter a building. Unusually, he's dressed in modern clothing and wearing round glasses with very thick lenses, and I make a point of remembering to write that detail down after I wake up. As I'm thinking about it, I wonder what dream interpretation would make of those glasses. The assumption here is that interpretation is the wrong way to go about it and will lead to mistaken conclusions.

      When he returns, he's ridiculously tall and wearing armor I associate with the temple of Mythal - less about Mythal, more about the temple - which is also unusual but in the opposite direction from before; the mental association is that he's dropped a disguise I'm used to seeing, though this one isn't exactly not a disguise. He asks me about various things I don't remember, and I answer as if I'm providing a status report. He's troubled by my responses.

      He tells me to wait for the sparrow. There's a sense that this is a reference to folklore or a fairy tale.
    4. A crow and a trio

      by , 06-07-2015 at 05:46 PM
      Mazikeen's picking up a crow for me, telling it that it's not going to get out of our deal. There's always an excuse.

      "What excuse?" says the crow. "I'm not trying anything. I'm just pointing out I've got mouths to feed."

      Many people do. But she counts the children in the nest, six of them. She initially seems not to care, saying something about distributing its belongings; but then she says something about giving them time to "grow into it." The crow's got one more year.

      (Woke up. Back to sleep.)

      A group of people sitting around a round table, while I'm standing. There's a woman who is composed of three women superimposed over each other, two living, one dead and decayed but still conscious due to her connection to the other two. I'm speaking to one of the living ones, Lily, the one who belongs to this reality, and offering a way to separate her from the other two. She has doubts. The other two are in favor of it. They ultimately agree.

      Later, I'm reading an account of the deaths of that group who'd been sitting around the table, a kind of organization I'd led. I'd made a deal on behalf of those three women, and to hold up my end of the deal, I was away for a long time; I think of this as abandoning that group. There was a fire. I'm reading a note to the effect that the group itself will reappear in some form or another, but the people I'd abandoned are dead.
    5. Avoiding the templars

      by , 03-31-2015 at 01:54 AM
      Based on DA. There's this kid whose father had been an apostate and a friend of mine; I've been his guardian since his parents died, but I'm not around much. There's this old dwarf woman who's been acting as his tutor, and she's been telling me that the kid's started to show signs of inheriting his father's magic. Strange dreams, mostly. She's worried he'll attract a demon, get himself hurt - she wants to send him to the Circle to be trained. I completely refuse. His father worked hard to stay free of the Circle, I can't do that to his son. There must be someone else who can train him. In the meantime, we say nothing to the kid about any of this.

      But we don't find anyone else, and eventually the old woman informs me that she's written to the Circle about him. They'll be sending templars to pick the kid up.

      So I take the kid and we leave town. I don't explain why, and he thinks it's just a short trip. As we're walking on a path through the woods, he's telling me about a fennec he'd found out back, and how he's been trying to befriend it. But as he talks, his voice changes, goes deeper, and he starts saying strange things; I stop and turn around to look at him, and find the features of his face are shifting slightly, starting to resemble a sloth demon. That fades away, his face and voice returns to normal, but he's frightened - and he recognizes that was the beginning of possession.

      He'd watched a friend of his become possessed once; he says he'd rather be killed than go through that. He runs off into the woods. I follow, but I don't find him.

      Updated 03-31-2015 at 02:59 AM by 64691

      Categories
      non-lucid
    6. An unusual transition

      by , 03-07-2015 at 11:22 PM
      After a DA:O-based scene about pleasantly passing time with Zevran, I have a false awakening and go lucid in a much less pleasant setting: a college dorm where people are being influenced in their sleep by some sinister mental voice - I could make out his tone but not his words. My initial intent was to investigate this without letting the source of the voice realize I was immune to his influence, mimicking the behavior of his victims, but I approach a stone wall surrounding the building and decide nah, I'd rather just leave. I fly over the wall with some slight resistance which I think of as coming from the source of that voice, unwilling to let any of his prey escape.

      This takes me down to a river surrounded by great grey boulders, leading down to the sea; as I follow the river it becomes filled by creatures similar to dolphins or porpoises - but incredibly ugly. I'm still feeling a sort of dragging effect from the scene I'd just left, resistance to moving further away; the water and open air feel refreshing but the animals' ugly appearance reflects some negative feel that's still affecting the dream.

      There's a song in my head, and I choose to focus on the song instead of on my surroundings - an upbeat dance song from the 60s. I begin to see a music video that goes with it, though not vividly, more like daydreaming, still firmly aware of my surroundings along that river. I'm thinking this could be an interesting opportunity.

      The music video has a wipe transition effect, like a clock hand sweeping around, and I focus on it - and now the music video has changed scenes from a dance hall to a boardwalk, and I've transitioned with it. I'm observing the boardwalk from above, 3rd person, with no more sense of that river with the sea creatures, or of the general feeling of unpleasantness from the past few scenes. I'm surprised that worked. It's unusually unvivid, though, still about the quality of a daydream; I wonder if I'm waking up. I shift my perspective, now standing on that boardwalk in the 60s, with a row of brilliantly colored pinball machines off to my right. That's much better.
      I drop back to non-lucidity for two more scenes.

      Updated 03-07-2015 at 11:30 PM by 64691

      Categories
      non-lucid , false awakening , lucid
    7. Hieroglyphics and a jailbreak

      by , 02-14-2015 at 10:01 PM
      As Constantine, I'm strapped to a chair again while a man in a suit - a different one from last time, older - is loading a film strip into a projector. When he turns it on, it shows an external shot of Ravenscar. I remember this moment in time, this guy with the projector - this is when I was sealed off from magic. It wound up only being temporary, but the observer side of me is terrified of getting caught in the start of that without being able to stick around long enough to come out the other side. I don't want those mental associations getting into my head. I bail out of Constantine's perspective.

      I'm on a small boat, the size of a rowboat but moving under its own power, taking me and several others in their own boats across a lake. It's surrounded by walls, artificially made, rounded so that the lake as a whole is circular - I associate this with the moon. The walls are composed of several giant slabs of pale stone, many of them carved with some message in hieroglyphics. Once I notice this, I have the boat back up to the first stone with carvings on it. It starts with the name of the artist and a short line in praise of the king who commissioned this work. The next panel includes two jackals, along with a lot of hieroglyphics I can't read, and I wonder whether the jackals are Wepwawet or someone else - there's nothing that looks like a name or a title, even among the hieroglyphics I can't read. In fact, I'm not sure I should call them hieroglyphics at all - aside from that first panel with the artist's name, the rest of this represents concepts, not words. The symbols I can recognize on the third panel include two rattles and a woman kneeling. This represents music and dance. It becomes clear to me that this entire series of symbols is depicting a prayer ritual - not just depicting it; the walls themselves are a prayer given physical form.

      There's a woman who's been running from a very powerful man, and I've agreed to bring her back to him. But the powerful man isn't the one I'm doing this for - the woman's uncle is the one who made a deal with me. For the sake of the rest of his family, he needs to stay in that powerful man's good graces. Now that woman's standing on some platform above me, I'm on the ladder below. She's pointing to two objects on that platform just out of my line of sight, saying, "This is that gun you've been waving around, and this-" But I don't stop to hear the second part - I reach up and knock that gun off the platform, out of both of our reach. She tries to stop me, holding a knife, but she reacts too slowly, the gun's already gone. She shouldn't have wasted time trying to talk with me. We struggle over the knife for a bit, and I manage to turn it so it winds up embedded in the wooden platform instead of in me, but she recovers from that and quickly escapes before I can climb up the ladder.

      (Woke up. Back to sleep.)

      My partner and I are breaking a group of men out of a jail or dungeon or something similar. The men insist on taking the time to steal water from this place before they leave - they don't believe me when I tell them the place we're going will have plenty of water. It's faster to let them do it than to try to convince them - but for crying out loud, could you at least stick to the relatively sanitary stuff? Finally we get them moving, and we head up a flight of stairs, my partner leading them, me hanging behind to make sure we're not followed. I wind up falling further behind than I intended; at the top of the flight of stairs, we cross a long hallway with paintings on the walls, and then head down another flight of stairs. By this point I've fallen so far behind that I've lost them.

      At the bottom of the flight of stairs, I'm in a place that's something like an airport lounge for travel between worlds, a transportation hub. The people here are speaking French, and I talk to one of them to confirm that I've arrived in the location we'd intended. Through a floor-to-ceiling glass window, there's a great view of the ocean and several green islands. It also overlooks several other glass corridors running through this place, and I see my partner leading the men from the jailbreak through one of them. They look completely bewildered. One of them sees me and gestures, clearly wondering how I managed to get over there. I should join them, but honestly, no one's chasing us, my partner's got the babysitting side of things covered, and that ocean looks really inviting.

      After flying over the ocean for a while enjoying the view, I come across an area where a few people are swimming. I drop down into the water and join them. The further I go, the more crowded it becomes - it's beginning to get irritating. I try to talk with someone who seems interesting, but there's a woman right next to us showing off some kind of athletic feat who's talking constantly and difficult to hear over. I comment, "She's very loud, isn't she?" She immediately gets louder, ridiculously loud,
      and I remember that narrative versus command thing I'd been thinking about yesterday. Whoops. "Be quiet, please," I tell her, and while that's a command, she immediately goes back to a normal volume. Deciding to use the narrative to clear a little more space, I close my eyes, lose visuals, and describe the space clearing out - but while it does feel like I've got a little more space to move, when I open my eyes again, I find I'm opening my real ones.
    8. Rain and a silver circlet

      by , 02-10-2015 at 09:39 PM
      FMA. I/Mustang left the military a while ago; right now I'm looking out a door at the rain. I see a memory of similarly looking out another doorway at the rain, standing at the door to a balcony on a tall tower, and then retreating back inside to adjust my plans. In the present, I put on a hat with a wide, floppy brim and head out into the rain.

      As I'm walking up a mountain road in that rain, I pass an old man driving his truck down the road. We wave to each other like we do every day. I'm thinking, as a soldier who was for all intents and purposes an embodiment of fire, I was useless in the rain, so it held a different significance. But as a person - I'm thinking of both me and the old man in the truck - you just put on a hat and go to work, rain or not.

      (Woke up. Back to sleep.)

      I'm in the same mountain range from yesterday, traveling alone at the moment, standing just inside the entrance to a cave. I've come to a very old friend to ask him for his help. He's not happy to see me. He's sitting in a sort of stone throne and saying slowly, emphasizing every word, "I am not well."

      I can see that. He wears this silver circlet that sort of glows, a contrast to his dark hair and coat; looking at how faint that glow is, I'm thinking that there's barely anything left of him. Nonetheless, there's enough of him left to do what I need done.
    9. Breaking wings and a game in a field

      by , 01-30-2015 at 10:30 PM
      A woman's feeling every bone in her wings break in half, one at a time, methodically, starting at the tips and working their way up. This isn't happening now - it's a memory. I'm not even sure it was originally her memory - this woman doesn't have wings now and I don't know if she ever did. But she's feeling the pain of it as if it were happening to her now.

      She's strapped to a chair, and a man in a suit has just taken his hand away from the top of her head, ending her experience of that memory. He didn't get the reaction he wanted. He says something to the effect of "I was saving this for a reward, but-" and puts his hand on her head again.

      This time she sees a memory of Constantine strapped to that same chair, from the perspective of a woman speaking to him. The woman runs her finger under his jaw - he makes a joke about how he would've shaved, but there's this whole held prisoner thing. Although I'm in third person throughout this dream, and although visually, I'm seeing this particular image from the perspective of that woman speaking, same as the woman in the chair is, nonetheless I feel the sensation of her finger on my/his jaw, unusually vividly tactile.

      The man in the suit takes his hand away again. From what he's saying now, I get the impression that the woman strapped to the chair loves Constantine, and that this man and the group he's with are using that to groom her to kill him.

      (Woke up. Back to sleep.)

      At a school, two boys close to graduation are lying in a field, watching a group of underclassmen playing some sport nearby. There's an underclassman in that game who one of them sort of took under his wing, and now the kid's developed a crush on him. The other boy is saying, great, take him home, get him "thoroughly raunched." The first boy takes this as a joke, says that he's not interested in anyone else, and kisses his throat. The other boy goes distant and pulls away. He resents emotional attachment - the first boy hasn't figured that out yet, but he will.

      Updated 01-30-2015 at 10:35 PM by 64691

      Categories
      non-lucid
    10. 500 archers, a falcon in a lake of stars

      by , 01-29-2015 at 10:36 PM
      As Louis, being seen as a vampire by someone who I didn't want to see that, fleeing the scene, and Lestat finding this much more funny than I think is appropriate.

      Discussing a military operation, looking at a map of what is essentially much of India and Southeast Asia, although at this point in time - meant to be 6th or 7th century or so - the countries and their borders are significantly different than in the present; we're primarily discussing a trade route at the moment, but I've also been having a disagreement with the man in charge about our manpower. While discussing the trade route, we receive word of 500 archers spotted approaching from the north, in addition to the army we're already facing. I am significantly less confident about our ability to handle this than the boss is.

      (Woke up. Back to sleep.)

      As some manner of religious authority, I'm performing a ritual to help a group of people, a sort of blessing or summoning, making something sacred. At the start of the ritual I have to offer up whatever spiritual virtue I possess as a sacrifice; this will leave me vulnerable until the ritual's complete, so I'm relying on the two people who asked for my help to accompany me. With the offering made, we step through a portal.

      This takes us to a dark and dusty room, a place I'm familiar with. I summon light into my hands, with an effect much like a dim flashlight. In the middle of the floor there's a large trunk full of false panels, something a stage magician might use; at the moment it's lying open so that all its tricks are clearly visible to anyone who might pass through. I didn't leave it like that. There are a few objects on the shelves of the room that weren't here the last time, indicating that someone other than me has indeed been using this place. This is something to worry about. I close the trunk properly, and we continue.

      A brief memory gap - after the dark room, we came out into a field at night with a river off to our right, and what we did here I can't remember; but then we came to the cliff at the opposite side of the field, and
      the view here was so fantastic that I briefly went fully lucid to enjoy it. I'm looking down on an immense lake so still that I can see stars reflected here and there. In the far distance, there's an immense grey statue of a falcon submerged in the lake so that only its head is above the water - but that small part of the statue above the water is at least the height of a two or three story building.

      Continuing the storyline, this is certainly the appropriate place to perform a sacred ritual, so I begin a prayer - something about the lake filling with stars. But before I get very far, that river off to our right rises in a flood. The two people with me are afraid, but I'm thinking this is convenient - we'll just ride that water down to the lake.

      The river sweeps us over the cliff, which is great fun, and when I sink under the water of the lake I can see a group of hammerhead sharks swimming far below. They don't seem to care about us. Surfacing, although we've all separated, we're all making our separate ways toward that falcon statue.

      Along the way, however, I bump into a seal; it considers me and then swims on. And then into a shark; the same happens again. And another shark, and this one seems more interested in my presence; and another that I have to physically shove away;
      and so on; I'm not concerned about my safety - though I am worried about the other two - but I become so busy fending off sharks that I can't continue to the statue.
    11. Grace, Elsa, cracks in the stairwell, clockwork

      by , 01-20-2015 at 11:36 PM
      Hellblazer, I/Constantine had been working with this teenage girl in the previous scene; now she's gone alone to a hospital to see her kid brother. He's in a ward with a lot of beds, and he's kneeling up on the end of his bed to talk to her. He's saying, "Is it possible that Grace is only after Constantine?" Grace is a surname - the Grace in question is a middle-aged man. And when the kid says Constantine, 'uncle' is implied. "Because he's not exactly a... us anymore." 'Us' meaning a person, a human being. I'd made one deal too many. Which has made it possible for me to be summoned up and controlled, used as a tool - that's what they suspect Grace is after.

      (Woke up. Back to sleep.)

      After an unsuccessful night looking for blood, I have to rely on Elsa, a sort of servant. Last resort. We use transfusion tubes to draw out the blood, to avoid any unwanted side effects on her, and I alter her mind to make it pleasant for her. I compliment her on the quality, she's changed her diet since the last time we had to do this. I'm speaking German-accented English.

      (Woke up. Back to sleep.)

      I'm climbing up a stairwell, climbing up through years. As I pass the platform that will lead to the 1990s, getting close to home, I hear voices up ahead. I come across a man and a woman leaning against the wall; the woman's saying, "No, it's 203. They changed the calendar - finally. I was starting to lose track."

      Further up, another group having a conversation, talking about the cracks in the walls. A woman's saying, "They're glitching so bad a man could get in."

      I reach my door, present day. But just beside my door, the cracks in the walls are so severe that they've formed a sort of second door - I think I could walk right through. The black sort of skittering motion that appears in all the cracks is more visible here. But the scene just before I entered the stairwell had involved accidentally intruding in a place where I shouldn't be, disrespectfully, and trying to make up for that. I decide against stepping through the cracks. I take the door to the present day.

      I step out into what's meant to be an apartment where I live, distorted in a sort of cartoonish representation of hallucination, like you might see in an old music video; it seems to be underwater. Then my field of vision pulls back - now I'm looking at a screen containing an image of this room. It's labeled as a game preview. I'm aware that if I'd stepped through the cracks, the scene still wouldn't have lasted for much longer, since this is only a preview - but that's where the real storyline would begin.

      (Woke up. Back to sleep.)

      I've taken my clockwork heart out of my chest to work on it. I have a mental association with the Snow Queen. I'm in my workshop, full of various clockwork devices, and I'm carrying on a conversation with my apprentice. The image changes to show the subject of our conversation - a bird whose flight over the desert is taking it over a pair of dark horses at the moment. I'm saying, "It doesn't matter if the bird is clockwork or flesh and blood." Either way, it'll fly the same repetitive pattern every year.

      Updated 01-21-2015 at 12:12 AM by 64691

      Categories
      non-lucid
    12. Fragments

      by , 01-19-2015 at 10:57 PM
      I'm looking at a man lying on the floor, bound in ropes, while a woman talks to me about him. He doesn't have a shirt and the ropes are cutting into his skin, I can smell blood, though he's otherwise unhurt. I can't see his face. The woman's saying, "We would walk a (something) of this guy. (Something long) lest he move-" I'm thinking that this situation reminds me of something I did under Charlemagne's rule.

      FK, catching up with Janette. She's shocked to learn I haven't turned anyone since we separated in 1683 - it's been a century or two since then. She finds it impossible to imagine spending all that time without your own kind.

      On the subject of writing, the man I'm speaking with is arguing that using a gateway to hell as a plot device is trite. The gateway to hell should be the book itself, not a device.

      Walking aimlessly down the halls of the McKittrick Hotel, I was considering passing the time at Hecate's replica bar - she'll be out for a while yet but it's always possible someone interesting will stop in. But I heard the beautiful sound of a piano coming from the room just beyond the bar's entrance, and followed it, and met a classical composer who I could not convince to give me his name.

      I'm trying to hold a conversation with a giant. He's holding an ax, the blade of which is currently buried in the roof of a building, and there are a few terrified people running away - they're being very loud and making it difficult for me to continue our conversation. But the giant's just thanked me for something, and I respond in disbelief, "You thanked a jinxed magician." That's something you shouldn't do, very bad luck.
    13. Games with Dru, Ravenscar, Lilith's song

      by , 01-14-2015 at 10:08 PM
      From Buffy, I/Spike am meeting Dru for the first time. Found her lying in an alley, looking unfocused. In this version of the story, the William the Bloody nickname doesn't come from poetry. Scene changes to present-day, transitioning with Dru describing that last scene, clearly fond of the memory; she says she liked seeing that sort of initiative in the living. She's putting it in terms that are disturbing the woman she's talking to.

      Nearby, I'm also reminiscing about Dru to someone else. We used to play this game with the people who'd hunt us. Scene changes to show the game - I'm running into a churchyard, holding a cross or something like it in one hand and some weapon in the other, run up to the hunter all wide-eyed. Make like I'm volunteering to join his hunt, country kid all full of admiration, or like the monster's right behind me - either way, the point's just to get in close. Not challenging enough to be called a game maybe, but we still thought it was fun.

      The first run-through of the scene, I 'won' the game easily, but then I'm remembering a second one with this weathered old woman who was suspicious of me right from the start, didn't buy the act. Circling around her, I wound up climbing further into the hills covered in graves, and as I climb I transition partially out of the Spike character. I'm hearing voices up here among the graves, not from the graves themselves but still tied to this place - three men who were here a long time ago and moved on, people I've been looking for traces of for a long time. I can't hold on to what they're saying.

      (Woke up. Back to sleep.)

      From Hellblazer, I/Constantine am walking out a back door into a narrow courtyard and out a large gate, then turn back to look at the building I've just left. Ravenscar. The image is distorted - I'm looking at a long wall with a gate in the center, one tower visible over it, and a few windows opening onto that courtyard, letting you see a little more of the building, and that's all fine enough; except it looks impossibly tall, and at strange slanted angles, and the views through those windows are showing me more than should be possible as I look up and up and up. I catch glimpses of the moon through those windows sometimes. In a stunning lack of lucidity, I think of this as "the place that haunts my dreams."

      Scene changes. I'm still looking up at that extreme angle, but I'm looking at a different place, focusing on this life-sized stone statue of a woman high above me in the moonlight. I have a sense of something religious about it, like she's meant to be praying, though there's nothing about her position to suggest it, or like she's meant to be an angel, though there's no wings. I think something along the lines of, "Of course, it would be her," with a sense of resignation.

      (Woke up. Back to sleep.)

      There's a man begging me for something, and I'm tired of this, bored. I tell him, life, death, pick one, plead your case, make it convincing, you've got one minute, go. It takes him a moment to process this, but then he starts singing.

      I recognize the song from a theatre show I enjoy about Lucifer, but can't place the scene immediately - at first I think it's Lilith's song. I'm amused - you think reminding me of her will make me more sympathetic to you too? I like the inspired emotional manipulation, but that's not going to work - she moved me, he didn't. But then I recognize the actual song. It's from the story of a woman who had to choose between love and advancing her career as a dancer - she chose dance. The song is about her calling herself foolish for causing pain to them both, her and the boy she loves, but ultimately defending her choice as a valid one.
    14. A stone gate in the air; plants growing in a cave, repeated

      by , 01-11-2015 at 11:38 PM
      I'm flying over a river, and although I don't remember what I was flying on, in effect it's essentially a flying carpet - a small, flat surface carrying several people. Someone else is 'driving' it, I'm just along for the ride. We're taken over a waterfall, with several clouds beneath us, and among the clouds I see a huge gate hanging in the air, supported by pillars on either end. It turns out to be the first in a series of three gates, the entrance to a country - the first is very modern, with images like a billboard; the second somewhat less modern; and the third is very old and very beautiful, more like a decorative lattice made of stone and covered in moss, as tall as maybe a three-story building. I turn back to look at it as we pass overhead. On the other side, we land. I find that I'm excited, much more so than I'd expected to be, about traveling somewhere new. Less jaded than I thought apparently.

      I'm surprised - although we've just entered a new country, there don't seem to be any customs to pass through, no guards. We've landed outside of a building, and I understand there are some procedures to be gone through inside; but there isn't anyone around out here, no one to stop us from just wandering off into the country. I intend to go inside, I just took note of it as something odd. There's what seems to be a giant bell planted in the ground, although it's so covered with moss it's hard to tell what's underneath. As I and the other people from the 'carpet' walk around outside, I notice several stone statues. There's a plaque underneath one of them that I read - this is part of the entrance procedure. We're meant to pay our respects by bowing before each of these statues. I do so, pointing this out to one of the other people from the 'carpet' to give them a heads up. The first three statues I come to are divine figures and legendary heroes, I bow before each of them; but then the fourth statue I find is an odd creature in a mask, labeled as a nightmare called Home Eater. I don't see why I should have to bow before my own kind.

      (Woke up. Back to sleep.)

      There was a scene in which someone was causing plants to grow rapidly among some stone ruins in a cave, and someone else saying to them, horrified, "What have you done?"

      (Woke up. Back to sleep.)

      Lost Boys, as David I'm watching Michael drop out of the tree and run away from the killing. This was not the plan. He was supposed to kill someone, not run away. I don't like giving the new ones too much time to think - just do it, make a clean break, then explain what's happened to them. It's easier that way.

      Back in the cave with Star, I'm standing off to one side and watching her. She's standing in front of a bunch of pots for plants covering a table. Most of them look empty, although I know she's planted seeds in each of them, and she's been trying to do something with them. But the one she's holding her hands over now is growing right before our eyes, responding to her somehow, like magic. Whatever she's been trying to do, it's working on this one. The other boys come back then, they all exclaim over what Star's doing, gathering around the plant and looking as excited about this as she is - except Michael. He's hanging back and looking at Star with this expression - not exactly betrayal, but close; like he'd thought she was someone he could trust, and now he believes he was wrong about that.

      Updated 01-12-2015 at 01:48 AM by 64691

      Categories
      non-lucid
    15. Eating foxglove, party with Marie, a witch's past, definitely not a demon lord

      by , 01-09-2015 at 11:49 PM
      I'm walking along a hall filled with exhibits - first, fragments of stones covered with hieroglyphics; then statues of Dumuzi; then a small section filled with art based on myths from various old African and Middle Eastern cultures, done by artists from the current African and Middle Eastern cultures - a reclaiming sort of thing. A painting of Eve holds my attention. Here I meet a very influential man and a woman who he has some claim on, but who seems mentally elsewhere - she speaks only nonsense. I feel protective of her, and I follow her out to a field where she gathers flowers and speaks nonsense at me for a while, but eventually that influential man and his followers come outside and she has to return. She hands me the flowers she's gathered and indicates I should eat them. Heather, foxglove, peony and violet. I put down a plank for her to walk across to return to him, and she hands me the traditional few coins for her passage.

      A scene involving statues who came to life ends with a man speculating about whether it's possible for something carved in stone to change its role. He thinks it's possible, within limits. He speaks in a manner that's difficult for the people around him to understand - they say he speaks in riddles, but that's not intentional.

      As I'm listening to him speak, the scene transitions; I'm in a dark stone room, listening to someone else speak to himself. I've lost track of what he was actually talking about, too busy focusing on his mannerisms and speech patterns, because I/Rumpelstiltskin recognize this scene - this is the man who I'll steal some of my more showy mannerisms and speech patterns from. Eventually he says a phrase that he uses very often, and recognizing it, I join in with him word for word. I've got his tone down very well, though my voice echoes, an effect of the spell I'm using to stay hidden - helps distort the location. He startles when he hears me, and I say, "Chilling, isn't it?" The similarity in our voices, I mean.

      He looks around to try to find me, unsuccessfully, but he looks deeply unimpressed. "Expressing affection?" he asks.

      "Precisely. But as an aside-" I drop the spell and step into the light as I speak.

      (Woke up. Back to sleep.)

      Me and Jules are meeting as strangers - a man led us down to a room displaying various things that were important to each of us in the past. He wants us to go over our own displays to make sure there's nothing that needs to be changed. When we take a break, however, I wander over to some of the objects that are on the wall. There's a statue of a golden lion - something Jules made. He explains that it was based on an ancient model, but it's difficult when you can't be exactly sure of the symbolism each detail had to that ancient culture. I sympathize - I'd once studied the original pair of lion statues he based this one off of.

      After several scenes on the streets of New York, I wander off into some hills, go lucid, and start to fly. Once I gain some altitude, I come across a river with several boats making their way downstream. I'm aware that if I follow the river downstream, it'll lead me back into the city; upstream, elsewhere. I'm torn, but then a large boat on the river draws my attention. Marie Antoinette's leaning on the railing, drinking an immense glass of pink champagne, and generally looking very inviting. I land on the boat and we go inside. Unfortunately, although I hear her meaning instead of her actual words, she complains that she can't understand what I'm saying - she's hearing the actual English words. I have to deliberately switch to speaking French - she can understand me well enough now, but my vocabulary's limited. I join her husband at a buffet table where he explains the various delicacies to me - they all sound fascinating, though I'm not eating. I leave him to go remove my overcoat; I meet a handsome guest and we enjoy some extremely unsubtle flirting. Eventually he leaves to rejoin his boyfriend, and as I'm admiring the pair of them I have a false awakening.

      (Woke up. Back to sleep.)

      There's a witch sorting through various moments of time from her past. The first one she selects isn't the one she's looking for - it's the moment when she was taken to the castle, associated with a sense of pain, before she became a witch. She puts that moment back.

      The second moment she selects - her daughter's choice between death or banishment. I think of Sleeping Beauty, converting a curse into something that's still a curse, but survivable. The daughter herself would have chosen death - young romantic type, I think of Romeo and Juliet - but her mother the witch says, "I gave him the terms quickly." By him, she means me/Rumpelstiltskin. She struck a deal with me to get her daughter away safely, before the daughter could choose a 'noble' death. The scene changes - I'm standing in the shadows at the very edge of a forest, looking at the castle on the hill in the distance. Despite the various fairy tale references in this scene, this castle's no fairy tale confection; it's a squat, practical thing. The daughter was somewhere inside at this moment in time.

      (Woke up. Back to sleep.)

      After uncovering a secret lab leaking some kind of contamination that was killing the rats in the neighboring building, and making a quick escape out a second floor window and over a series of rooftops, I've wound up coincidentally coming across a scientist from that same lab and having a civil conversation on the subject of traveling through portals. We passed through one without her realizing it, and I'm baffled as to how she could not have noticed, but also baffled as to how to explain that moment of transition to her - I compare it to a change in air pressure, something you feel rather than something visible that you can point to.

      She's excited about having found someone to talk to about this, someone who's used to traveling between worlds, and she asks me a variety of questions. But her expectations are so wildly different from my experiences that we're having trouble communicating - she seems to have a worldview straight out of Lovecraft. She asks me first about Old Ones, and I had no idea what she was talking about - the ancient beings that created the world, she explains. She describes them very specifically. That's something I've never come across, sorry. So then she asks about some other creature I've never heard of, and this one she explains as the demon lords that currently run the world now that the Old Ones are gone. This is hilarious. Again, sorry, no - if there are any demon lords running the world, I have yet to meet them. I start wondering if this story is actually a misinterpretation of some of my own past actions.
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