• Lucid Dreaming - Dream Views




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    Carabas

    1. 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.
    2. 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.
    3. Old wounds

      by , 10-26-2014 at 06:42 PM
      There's a woman who's been unknowingly designated to play the role of Mary. (A reference to Mary Vetsera and/or Mary Kelly - the point is that she was remembered for her death, and that a certain amount of time has passed since, so it's time for events to repeat themselves.) She'd been running from a stranger with a knife, found a friend of hers to help her, and they've wound up barricading themselves inside a room. Due to a struggle at the door, the stranger's knife wound up on the floor inside the room with them. But the stranger wasn't the threat here - he was trying to help her. I'm in the POV of the thing possessing her friend, though possession in this case means only a certain amount of influence over his thoughts - he's the one fated to kill her.

      There's a man, a servant, who I made immortal a long time ago. He came to resent me, so I sent him away to the household of a woman I'm close with. From her letters, I believe that's worked out well for them both. I'm staying with her at the moment, and he's showing me something I hadn't realized before - the wounds he had when I made him immortal never healed. The pain is very minor, but it never goes away.
    4. Red Death

      by , 01-26-2014 at 10:33 PM
      A Takarazuka production of Elisabeth with a new scene, in which Death is kneeling before young Elisabeth on the throne, kissing the underside of her wrist. Both of them are dressed in red; at the beginning of the scene, Death had been disguised in long red robes.
    5. A murder in the woods, Hogwarts, and alien Copernicus

      by , 09-25-2013 at 10:43 PM
      3rd person, there are two people looking down at a body lying face down in the mud, in the woods, pine trees, not a lot of underbrush. They're just barely out of sight of the road, although it's night and it's raining so no one's likely to see them anyway, and they're both wearing dark rain ponchos; the body on the ground, a middle-aged man, isn't dressed for the rain. They're talking to each other, the one talking right now's a woman, saying something about a bike, and about getting his fingerprints on the shovel. There's another body deeper in the woods, and they're making sure this guy will be blamed for that murder.

      (Woke up. Back to sleep.)

      HP, as Draco, fragments mostly - the new DADA teacher is suspicious (how unusual); running into Snape in the hall and feeling relieved; overhearing Weasley complaining about feeling 'used' by Potter, I'm surprised and pleased.

      I'm someone who's just moved to America, or possibly just temporarily staying there; either way, my parents have a somewhat distorted idea of what that entails, they seem to be expecting a great deal more muggings and car chases than are actually happening, their letters keep giving me advice on same.

      (Woke up. Back to sleep.)

      A man who's been traveling for a long, long time and wants to rest is given a mission which is described both as a task and a reward for him, saying he'll be "the Copernicus of" the place he's going. The actual Copernicus also appears on the scene, except 'actual' Copernicus is a woman disguised as a man, and also from outer space.
    6. Fragments

      by , 09-15-2013 at 07:09 PM
      I'm standing in a clearing filled with men in armor and horses, near some trees. The guy I'm talking to is psyching himself up, saying he can't get excited about fighting unless it's (the particular people we're about to fight) - with anyone else, why bother? I refer to Alexander, the man we're following, as "the undiminished king."

      A woman in a modern setting believes she's being punished, looking up at the sky and addressing her father the storm god, "What have I done?" - but what she saw as a punishment was meant as a message, about a friend who she's separated from.

      1st person, as a wolf, a woman stroking my jaw and debating out loud whether to leave me in that form.

      A teenage boy having guilt-induced hallucinations about a man he'd hurt, seeing him with a face burnt black and empty holes for eyes, I can see the wall behind him through the holes.

      A book with an illustration of a red circle covered in black markings has gotten soaked and the markings are washing away, and the boy who damaged it is apologizing, but the girl who owns it is saying it wasn't the real deal after all, if it would run.
    7. 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.