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    1. Adam and the desert

      by , 11-26-2015 at 08:55 PM
      Earlier, was just lucid enough to deliberately fly upward with the intent of getting a wider view, instead lost visuals and wound up in a completely different scene, losing lucidity.

      Standing on a ladder outside a suburban home, the wind shifts, hot and dry, a sense of the desert that's going to claim this place and incorporate it into my people's territory. I'm the one who led them to this place, but I feel conflicted now. I excuse myself to the man who'd been holding the ladder, and go inside to take care of some loose ends. There are too many signs of how personal an interest I've taken in this world, learning their language, getting much too attached; I should dispose of that evidence.

      Elsewhere, among the troops, I'm speaking to one of them on behalf of a man in this world, Adam, trying to make sure they take care when they process him. I say I've never seen a dreamer with power like his before. Which is true, but I'm also being careful to phrase it in practical terms, downplaying any personal attachment. I have to stress the importance of him as a resource not to be wasted. The man I'm speaking to agrees that they'll be careful, but I don't think he's really paying attention, just brushing me off. I end the scene flying back to that suburban house, desperately searching for Adam.

      The following scene focuses on a brother figure chiding me for hanging onto a ghost.
    2. Out of armor, out of weapons

      by , 06-06-2015 at 05:49 PM
      A man flies into a church in a hurry, and runs across an old friend he hasn't seen for a long time. He's excited to see his friend's still alive, but concerned to see he's not wearing his armor - he's in jeans and a t-shirt, and there's a sense that this means he's rejected a role, walked away from something. And there's a small scar by the corner of his mouth, that's new.

      Unfortunately, there's no time to talk, he's running from something - he asks his friend for help, and his friend agrees, opening a portal for him. As he's about to pass through it, however, a group of people fly into the room, wearing armor like the kind his old friend used to have, shouting for him to stop - they're acting like both the portal and his old friend are a threat. From my 3rd person perspective's location, I can't see where that portal would lead.

      (Woke up. Back to sleep.)

      I'm fighting someone, but I've stolen his weapons and made them my own - his cloud of mist, his glowing light. I feel a snap. I'm surprised to find he dies as easily as anyone else without his toys. Three of us who'd been fighting him together drive off, leaving someone behind to clean up.

      I apologize to the man driving the car, someone I've been with for years now. That whole situation had been my fault - I'm saying I couldn't just follow instructions when I should have, and "Let it get too loud." He says, "And then it didn't anymore."
    3. A gold mural on a cave wall

      by , 03-27-2015 at 12:53 AM
      In a cave, a young modern couple were confronted by two women, guards of something sacred who'd been hunting this man down. They fought, and now those two sacred guards are lying on the ground, one unconscious.

      The man rises to float slightly in the air, and the guard who's still conscious believes this is a sign he's about to kill her - but he just scoops up the woman he's with, carrying her in his arms, floats over where that guard is lying, and keeps going. He says to the guard, "Seriously, go away."

      Then he phases through the cave wall, where a mural is painted in gold. As he passes through the wall, the guard momentarily sees a different face overlaying his, someone she recognizes and greatly respects - either a religious authority who's recently died, or a god, or both.
    4. 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
      false awakening , lucid , non-lucid
    5. 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.
    6. Lies and Nadja

      by , 02-08-2015 at 10:12 PM
      I'd been accused of a crime I didn't commit. The charges have been dropped now, but people have formed their own opinions about my guilt or innocence. On the sidewalk I'm confronted by a group of men in dress uniform, most of them middle-aged. They call me monster, and disgusting, and one of them says, "He saw what you did," indicating a younger member of their group.

      A liar, that's interesting. I wonder at first whether this is the actual criminal and if he'd been trying to frame me, or whether he's just someone who heard about the case and was trying to get in on the limelight. But he looks genuinely afraid of me, to such a degree that I realize what must have happened - he must have seen me eating. But in this era, accusing me of being a vampire would be too ridiculous, he wouldn't be taken seriously. So he came up with something more believable to accuse me of, to get me locked up. It wasn't a bad idea, I've been considering burning this identity since this mess started.

      (Woke up. Back to sleep.)

      I'm running along a mountain path, mentally shouting Nadja's name. She came to us under a false identity, and then she disappeared in order to avoid being found out. But there was no need for her to disappear like that. I've tracked her to these mountains based on rumors of "the witch of the crags," and once I sensed traces of her, I started calling first the assumed name we knew her by, then her real one, Nadja. Following her mental trail, I reach a cliff. Without hesitating, I jump over the edge.

      Snow-covered mountain peaks far below me, as far as the eye can see. I pause to check if I'm still asleep enough to take control of the flight for a while - yes, I am. Forgetting about Nadja, I turn upward, enjoying the view for as long as it lasts.
    7. 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
    8. A futuristic boar hunt

      by , 11-21-2014 at 09:02 PM
      Previous scene had been on the subject of breaking through layers - in a futuristic setting, there'd previously been a big struggle to break through (something, either the earth or a ship - either way, the important part is that it's the ground we stand on), and we'd thought that was the end of it; now we're discovering there's another layer to break through.

      In that same setting, I'm part of a team of people in uniforms, rounding up some wild animals. But most of the scene is spent in disembodied 3rd person, following one of my partners. She's watching a boar - huge thing, at least twice my height - and a voice is saying to her through some communications device, "If (something), think how much could be got from a boar of that size under good conditions."

      She asks, "Are these good conditions?" She's referring to the boar's behavior.

      "Best I've ever seen," is the answer.

      She's nervous, but she activates this sort of mechanical set of wings she's wearing; they glow green as they lift her into the air, and she starts rounding up the boar - chasing it down, frightening it, until finally a great green light bursts from inside the boar, creating this swirling transparent sphere around it, fragments rising and dispersing in the air. The light's invisible to the animal itself. She lands on it, clings to its side and uses a vial to collect that light. It's a kind of energy we use, given off by these creatures' heightened emotions - it's the same thing that's powering the weapons we're using to hunt them.
    9. A legally complicated household, queen or maid, tower of ice

      by , 11-08-2014 at 09:00 PM
      I'm walking in a garden with a young woman who's essentially an adopted daughter for legal purposes, but I think of her more as a student. I've just brought a woman into the household after finally convincing her to leave the increasingly dangerous situation in her own territory, and I'm explaining to my 'daughter' why this woman won't be staying in the women's quarters with her other two 'mothers' - two women who are legally my wives but who I've never had any kind of relationship with, sexual or otherwise; I just needed a legal way to allow them to stay in this household. She'll be relaying what I say to the other women, I'm aware.

      I'm explaining that this third wife's faith compels her to spend her days in isolation until the (some word that means evening prayers - the point is that this story will explain why she's never seen in daylight). It's a custom that's not uncommon among her people, I claim. I'm thinking that the way religions dominate this place and time is as convenient as it is inconvenient.

      The daughter finds this ridiculous, but she won't question that faith is the reason for it. She's not pleased with the situation in general though. I'm telling her that although this third wife won't be living in the women's quarters, nonetheless you must treat her as another mother - in other words, though she's new to the household she outranks the daughter. This is apparently the last straw for her - she says, "Oh, I am in the mountains of madness!"

      (Woke up. Back to sleep.)

      As Rumpelstiltskin, I've been watching without saying anything while Belle had a sort of confrontation with a woman I'd been working with. I've got plans involving this woman, and Belle knows them, and she's just made it clear she won't be standing with me in this. She's leaving now, and as she turns away my perception changes - I see the three of us as we were in the other world. Seeing her like this, Belle's wearing this white hooded cloak lined in fur, a symbol of the Snow Queen. Several reactions to that - first, a sort of bitter sense of humor that of course the wife of the Dark One could only be the Snow Queen. But I also think of this as a reminder that she's not to be taken lightly.

      However, the woman I'd been working with has just asked something to the effect of 'who are you,' and Belle's response is, "I'm the maid." This is, again, a way of stating that she's not my partner in this situation, she's not on my side; but it's also a rejection of the way I'm seeing her right now. By choosing to define herself as a maid rather than a queen, it should be as if she's giving up power, but instead I think of this as power that I admire - her ability to choose her own path and demand that others see her as she chooses.

      (Woke up. Back to sleep.)

      There's this massive tower of ice - a cylinder reaching up into the sky and down to the earth as far as I can see as I float in front of it, intensely detailed jagged edges much like a frozen waterfall. I/Rumpelstiltskin see an image of Belle standing with one arm raised as if she's holding something up, associated with this pillar, and I'm convinced the role of the queen is a burden she took on because of me - or if not because of me directly, it's a situation she wouldn't have been put in if it hadn't been for my involvement. I hate knowing that this will continue to affect her even in the other world.
    10. Don't be evil, night flight

      by , 11-06-2014 at 08:09 PM
      I'm visiting someone, arriving in the yard behind her house, and I find two men doing yard work. I'm surprised, and when I talk to them, one of them complains about being summoned like this - straight out of bed, early on a Sunday morning. (Summoned in the magical sense of the word - he was asleep in bed, and then he was here being put to work.) I go into the house, calling out, "Babe?" There are a few other workers around, and they give me odd looks for the term babe. It occurs to me that the word may be outdated. Or it may be that the woman I'm meeting looks much older than me now, since her hair's white. You have to keep adjusting the way you address humans as they age - it's a headache to keep track of all this stuff.

      I find her and ask her about all this work she's having done around the house, and when we step aside from the workers for a moment I point out to her that summoning people on a weekend is rude, and besides, we're supposed to be demonstrating that we're not cartoonish villains here. What does she think she's doing, summoning up people like this? We are supposed to be reformed, we don't get to keep minions anymore. She protests that her helpers aren't 'minions,' but they most certainly are.

      I'm taking a little kid home to her family. Initially I'd tried to just send her home with the click-your-heels-three-times bit, but while we wound up somewhere familiar to her, it wasn't actually her family's house. So I'm flying her back the rest of the way - but the kid was so excited about flying, I gave in and kept flying around instead of just taking her straight home. It's a pleasant night flight - lasted a long time and there were so many beautiful views, I deliberately made an effort to remember all of what I was seeing so I wouldn't forget it when I woke up. But despite that, there's not much to describe - a lot of scenes of beautiful city lights seen from far above, and occasionally diving down low over traffic to amuse the kid. The lucid observer part of me wondered why the dream character part of me stuck to following the roads - I supposed it helped with navigation. At one point while we were diving low, we wound up passing underneath this large overhang at a trolley station, and I found it difficult to gain altitude again when shut in from above, so we landed in the trolley car.
    11. Vampire emancipation, bickering with Howl and Sophie

      by , 08-23-2014 at 06:38 PM
      There's this pair of vampires in an apartment, a young white girl and a tall black man, and today slavery has officially ended. There's celebrations in the street, fireworks. But the sense of time's a bit off - although the vampires and the apartment look like the 1800s, at some point in the conversation it's mentioned that this is 1933, and the view outside the window looks it. The girl turned him a long time ago and they've been traveling together since. It's been a good deal for both of them - since she looks like a kid, she needed someone who looks like an adult to get by in the world; and under slavery, he needed someone to pretend to belong to. Now that's over, he intends to leave. The kid was surprised by this, hadn't expected it at all - they're close, it's not just a convenient arrangement for survival, so it hadn't occurred to her that he'd want to be on his own if he could. They went straight from celebrating to fighting.

      He's saying, "You don't think I prefer another kind of life for-" I'm not certain which pronoun he used then - I wrote it down as 'you', and I think he'd been talking about his concern for her at this point, but she responds as if he'd said 'myself.' She went cold and distant before answering. By another kind of life, he'd meant as opposed to vampirism, and she doesn't take that well. So after a long pause, she says, "But you've got mine."

      (Woke up. Back to sleep.)

      I'm Howl, a version with black feathers cropping up - a patch of it at my throat at all times, and mixed in with my hair - speaking English throughout the scene, but no Welsh accent. I speak very mildly and seem distant - it's an affectation, particularly when I'm annoyed, and at the moment I'm very annoyed.

      Sophie got fed up with me and left after a day or so in the castle. But now my spells have alerted me that she's back in town - just sitting there, inexplicably, not coming home. I'm seeing an image of her sitting down on a low stone wall somewhere, grumbling to herself. Since she's gone to the trouble of coming back to town, we both know she'll be back at my door eventually, she's got nowhere else to go - I'm convinced she's just refusing to come back now out of sheer stubbornness. So I spell her back, have the winds scoop her up and carry her through town, into the house, and drop her in a chair at the table. She complains about this of course, but now that I see her up close, it occurs to me that possibly she couldn't physically walk back to the house - she looks tired and sore.

      I'd been in the middle of making dinner when she turned up, and I bring her a plate while she complains at me. Talking about dinner and ridiculous stubbornness, at some point I compare her to my brothers, and she looks aghast at the thought of me having brothers. Did she think I sprang from the ether? "Monstrous. How many of you are there?" I have quite a few brothers actually. Our mother's immortal, like myself - I've visited her just recently as a matter of fact. Sophie says, "You're like rats in a field."

      When someone characterizes me as a monster, my habitual response is to prove them right, so I'm leaning into her from across the table in a way that's not physically humanly possible. "Our father's place is human," I say, very mildly. And in response to something else I know she'd been wondering about, I add, "And I'm a married man." I retract back to my side of the table. The point there was less a reference to my wife, who's out of the picture, and more a reference to the existence of my son, confirming that the boy whose pictures she'd been looking at earlier is my son.

      (Woke up. Side note: It's been ages since I've had a Howl dream, so when I saw the HMC task of the month I'd hoped it would spark something like this. Success! Not a success at the TOTM of course - this wasn't the task, or lucid at all - but a non-lucid dream with the plot I wanted is even better.)

      And a quick dream from yesterday: As Rumpelstiltskin, I'd been following someone who'd stolen something from me. I used a spell to keep the light from falling on me, and then another for shadows to hide me. Then I'd walked myself off the road and left my body hidden among the fallen leaves while the rest of me went on. Finally I tried some spell that failed - I lit up with golden light from within with the effort of it, shining through the lines in my skin, but I was unable to succeed. Giving up for now, I call Belle. She asks, "What has (some name) got on you that-" I interrupt her. "My dagger." She goes silent. It's not the thing they stole at this moment, and they don't know how to use it, but they have it; they're a threat to be taken seriously.

      Updated 08-23-2014 at 07:34 PM by 64691

      Categories
      non-lucid
    12. Sleep No More, fake names, time travel

      by , 08-20-2014 at 07:42 PM
      Visiting the McKittrick, I've been following the taxidermist - a bald man with sunken eyes, looks starved and intense - as he talks to a young blonde man with a heavy jaw who works for the hotel, very earnest type. When it's time for the final banquet, they meet up with two women in clothes from the Victorian era and accompany them down the stairs - but I come to realize their final scene won't be with everyone else at the banquet at all. The women dance down the stairs, floating from one bannister to the other. Standing with them on the bannisters, so close to the ceiling, I'm very aware of Hecate's influence on the floor just above us.

      (Woke up. Back to sleep.)

      I've just walked away from a room where I'd been talking to a woman. Now I'm standing in the ruins of a building, on a street where a lot of buildings have been destroyed. Nearby there's a large brown rat on top of a pile of rubble, and I have a sense of fellow feeling as I watch it. I don't really want to go out into the street - it's much too exposed - but I don't see any way around it. Once in the street, I catch sight of a woman in a white dress two or three buildings down, behind a wall of iron bars. She sees me and jumps up and down to get my attention. "Nick! It is Nicky, isn't it?" I recognize her, we're close. I (or rather my POV character here) use several different names - 'Nick' is for all intents and purposes my (POV character's) real name, but I haven't heard it for a long time, so this is something of a reunion. But I'm debating whether I want to take the time to rescue her from behind those iron bars.

      (Woke up. Back to sleep.)

      I've been walking around backstage at a sort of club in the 1930s or so after leaving the audience of a show on stage in the main room. Talking to various people, overhearing conversations by dancers. I'm just now leaving a smokey room where two men have fallen asleep. I've been looking for someone, a specific woman. There's a disaster or a tragedy that's about to occur here, and I have to find her first.

      The show in the main room ended while I was backstage, and everyone's straggling out. In the lobby, I come across a large man I remember meeting earlier. He's putting on his coat. Near the doors, his wife and daughter are waiting for him, and he introduces them to me. I recognize the daughter as the woman I was looking for - she's just a kid. I hadn't been expecting that she'd be a kid in this era. I kneel down to introduce myself to her eye to eye, using the name "Deacon Willfire" - it's the fake name I've been using here in the past, but Deacon is similar to the name I'll be using when she meets me as an adult in the future. She's very shy here, can barely look at me, but I'm aware that meeting me here will make an impression on her, and the similar names will help that memory along when we meet in the future.

      (Woke up. Back to sleep.)

      I'm in that kid's room, standing by an empty fireplace that's so large I could easily fit in it just by ducking a little - it's grabbing my attention. But I'm also talking to the kid, saying to her, "A 300-year-old vampire for an imaginary friend?" (I'm referring to myself. She thinks I'm imaginary.) "You're trouble for sure." I'm thinking about the way I'm meeting her at various times in her life out of sequence. From her perspective, proceeding through time in the usual linear fashion, I've wound up being someone she grows up knowing, someone who's been around for most of her life.
    13. Rain

      by , 07-14-2014 at 07:41 PM
      The magician's been having a conversation with a girl he thinks of as a dreamer. Long wavy blonde hair, long loose dress, bare feet, floating in the air. She's not physically here, and they can only meet like this because at least one of them is asleep. Just now he's sitting down at a small white wrought iron table where a woman is going to bring them tea, and he's looking up at the sky. It's starting to rain. He's wondering out loud why he doesn't feel the rain in this place - he starts to speculate about the magical properties of this region. She says no - it's because he's sitting down and relaxing that the rain here can't touch him.

      Updated 07-14-2014 at 09:30 PM by 64691

      Categories
      non-lucid , dream fragment
    14. Semi-lucid chase scene

      by , 05-16-2014 at 07:57 PM
      Kuroshitsuji-based. I'm looking at a sort of frozen image of two people - as a disembodied observer, I can move around and look at this scene from different angles, but time isn't moving. Two figures in heavy fur-lined coats that cover them completely. I can't see their faces, but I'm aware the tall one in black is Sebastian, and the small one in white that he's carrying is Ciel and also myself. I'm focusing on the hood of Ciel/my coat - the opening for the face is completely in shadow, and something about the deepness and the blackness of that opening and the fact that the face can't be seen makes me feel sure he's a demon.

      I'm about to enter a temple, together with three or four friends and family. We're standing around an outdoor sink where you wash your hands before entering the temple, and I'm looking around and thinking about the beauty of the entrance. Over to the left there's a separate building that's also part of the temple compound, but not sacred, and when I realize the others haven't been there before, I insist we go see it first. There's a line to purchase entrance - which is very expensive - and they don't understand what this other place is, so I explain it to them while we're waiting in line. This building, the McKittrick, was built by an eccentric rich man who filled it with all manner of strange collections over his life. After he died, it was bought by a woman who- (My memory's vague about what I said that woman did, but it was something to do with folklore. Elves were specifically mentioned, prompting a scene change.)

      Third person, outside that building, it's night now. Three strange-looking figures that I think of as elves are standing around, agitated about something, waiting to execute some plan.

      (Woke up. Back to sleep.)

      A friend of mine introduces me to a woman he's in love with - who turns out to be a living weapon sent to kill me. But she herself hadn't realized that; she was a sleeper agent, some kind of machine, programmed to become a weapon again the moment she saw me. It's painful to watch her personality disappear. I'm angry at the people who created her, and also blaming myself for involving both her and my friend. I try to take care of the situation without my friend finding out what's happening.

      This ultimately ends in a chase scene where I'm running from that friend. I go semi-lucid while flying to avoid him. There's a small stand of trees at the edge of the property, and as I reach them, I decide to change scenes; I stop among the trees and focus on the feel of the branches around me, trying to change the scene to a dense forest. When I stop focusing on the feel and look around again, I'm not in a forest, but the grass is much taller and the buildings around have vanished, and the friend I was running from flies over my head without seeing me.
    15. Psychic hunters, Sarah Connor and Chrestomanci Castle

      by , 05-06-2014 at 07:49 PM
      There are these people with some psychic skills ranked on a 1-10 scale, where 10s are considered essentially monsters and hardly ever exist. A message has gone out to all these people to stay indoors tonight. One of them's being hunted down by a 10-ranked kid, and anyone else going outside now would just get mixed up in the hunt. This kid's treated like a living weapon, kept locked up aside from the rare outings like this, but he's just a kid; there's a feeling here like being let off a leash. Now he's levitating around outdoors - it's night, so he's not worried about being seen. I'm fond of the kid, and I'm aware that later he'll get away from the place that keeps him locked up, and that'll be good for him. The woman he's hunting calls her home to ask for help, but the woman who answers the phone has already got the message not to go outside tonight, and she's torn.

      Sarah Connor's been running from something together with this guy who can't run anymore, and she can't carry him. She's trying to convince herself to just leave him and go, but when she tries, she only gets three feet before her knees give out. I'm aware it's because she's fighting her own desire to stay and help him. She's thinking to herself that she should have done something every day to train herself to do things she doesn't want to do.

      Gwendolen Chant's sitting in her room at Chrestomanci Castle, writing. She's just gotten back from another world - she's looking for one to move to, and she's just crossed this last one off her list of potentials. She'd had an unpleasant encounter with a girl there, and she'd wound up enchanting the girl into some monstrous form. Gwen led the girl to believe she'd be trapped in that form forever, but she's thinking that actually it'll wear off on its own in about a century. And about another century after that, it'll slowly start to grow back again - Gwen's thinking the girl's reaction when that starts should be hilarious.

      Updated 05-06-2014 at 09:47 PM by 64691

      Categories
      non-lucid
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