• Lucid Dreaming - Dream Views




    View RSS Feed

    Carabas

    1. Fragment

      by , 11-10-2016 at 01:05 AM
      A man confronts me at my IRL home, having tracked me down, holding me responsible for something that happened long ago. I hear a memory of something he'd said to me then - "The rule of kings is over. We will take our place among free nations." The scene shifts to show the beginning of the thing he blames me for. A procession through a city, passing by a river, soldiers in silver-colored armor, rows and rows of lances in the sunlight, the king and myself in tall masked helmets and long robes, at the corner of my vision I'm aware of a ship moving along the river with sails and oars and something golden about it, and it's all a striking image, but I'm thinking of something like Cosa Nostra.
      Categories
      non-lucid
    2. Dark, the emperor, and the queen

      by , 12-13-2015 at 09:33 PM
      I gave an old woman a recipe which includes a poisonous flower. She later turns up dead by the effects of that poison - but I suspect her son took advantage of that situation to kill her himself, knowing that it would be dismissed as an error in dosage. There's an inheritance involved.

      Disembodied, I'm 'standing' at the edge of the ring of a gladiatorial circus, observing a man who's now lying on the ground looking half-dead, but he's nonetheless victorious and a crowd-pleaser. I'm bored. These games have been going on for days now and it's gotten repetitive, I'm impatient for him to move on.

      I shift my perspective, finding the emperor in a large private room attached to the circus. A man in armor is talking to him about the man who's won the games, and the emperor is incredulous - why should the emperor fear or make concessions? That man fears him, the emperor - the proof of that is in the way he travels from place to place and uses the name he does. (His name is a word literally meaning "dark," but associated with low, dirty things.) The man in armor raises the issue of Dark's rumored connection to the queen.

      The queen's present in the room, tall and dark and with green-tinted hair, hair mostly covered by a black veil. She's legendary for her beauty and suggested to be not entirely human; there's a rumor that Dark is one of her kind, and looking for her. It's close to the truth, but not quite it - in actuality, he's a survivor of the court of her previous husband. She's unaware of this. She only survived that massacre because the emperor refused to give her up, treated her as a prize.

      She joins in the conversation, teases the emperor, saying that if she ever sees this Dark, she might recognize one of her own kin and turn on the emperor. Her voice is nasally. She then speculates more seriously about what would happen if she ever really did meet one of her sisters - "Lure her to her death."

      The emperor is irritated with this line of conversation, and tells the two of them that this is enough talk, focus on the tribute instead.

      Later. Dark is standing in front of an open shrine, holding an antique sword in poor physical condition but with great symbolic meaning. He's telling the spirits that if he enters the dream with this weapon, with all that meaning attached, it will become something miraculous. He's lying. But in actuality, it will lead him to a cross buried in the ground - I see the cross glowing dull red - and then to a bow which will infect him with hatred for a time.

      I have a body now. I'm standing in a temple somewhere bright, talking to a woman who's explaining to me that she won't leave this building. She took a demon into herself, made herself its prison. She describes how she'd been fighting someone, and when it was over, a part of herself that should have been restoring was draining instead, and she hasn't been able to stop it - she can feel herself flaking away, and if this continues, there'll be nothing left of her in a mere few thousands of years.
    3. Iliona

      by , 08-19-2015 at 05:16 PM
      I'm in an in-between place - shallow pools of water, tall dark cliffs with broken statues and bronze mirrors, and a single whole statue: a hooded figure in a position that reminds me of Mary in the Pieta. One of the bronze mirrors I think of as still working after all - it shows an image of a woman from the turn of the century, and her image moves and looks at me. There's an association with 'a mother' here, though I'm not thinking of her as my mother. I can use her functioning mirror to escape. But first, there's a small vial here of brilliantly white light that I associate with 'love' in some way, which is needed for later, for something after I've escaped; it's the reason I came here.

      There's a house at the top of a cliff overlooking the sea, very pleasant, and with a forge attached. A friend of mine is working in the forge right now, helping out the man who lives here, a man who is brilliant at designing certain things but who can't work in the forge himself. Because of him, there's a sword of sorts that's been reforged - there's an association here with a legend about light, and the sword itself is yellow and semi-transparent - and I'm about to take it to a woman named Iliona. But I'm concerned about my friend working in the forge. The designer has just told me that the spirits have already released my friend from his vows to the hold - there's no need for him to help the designer with the forge anymore. But my friend says to me, "I took his brother from him. I can do this much."

      Iliona lives in a small town, and as I'm walking down the hill into town, I'm openly carrying her sword in my hand. I'm met by a man who knows me well and his wife, Iliona's daughter, and they block my path, not trusting that I really am who I appear to be. I break the weapon that he's raised to me, and speak to him so that he sees I'm still myself. They let me through; they don't like it, but they defer to Iliona.
    4. 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."
    5. Shapeshifters

      by , 02-21-2015 at 11:52 PM
      My brother is lying in fetal position on the ground, out in the woods, blood on his hands up to his elbows, just now returned to human form and very out of it. There's a girl with him. In the previous scene they'd been on a date in a restaurant, and she'd already known he wasn't human, and that he was violent - she'd gotten some kind of thrill out of it. But now that she's actually seeing the reality of it for herself, she's yelling at him, and being horrified by the blood on her own hands where she'd touched him. I'm watching from a distance, and I'd intended to give them privacy, but now that I've seen her reaction I'm disgusted by her - and disgusted by his behavior too, but that's not unusual. I allow her to see me and I go to get my brother on his feet.

      Another time. I'm standing next to that same girl, making sure she doesn't do anything to interfere. We're watching a friend of hers go through a sort of rite of passage. She's standing in the woods, holding a sickle. Some variety of large wild cat walks out of the woods. The girl is supposed to kill that cat, but she doesn't move - she can't do it. The cat kills her instead. The cat then returns to her human form; her animal form was supposed to be passed down through her death.

      Another time. A mistake's been made and we're going to need to allow one of our people to go to prison. An older man is offering to take the fall for her - he's been in prison before and he thinks it would be better this way. The youngest of us says there has to be some way to avoid this - none of us can leave this territory anyway, so a prison seems pointless to her.
    6. A black door

      by , 11-04-2014 at 08:18 PM
      I'm listening to a man die while I remain in hiding. I'm thinking that maybe I should have moved sooner and saved him, even though I'd have risked being seen - but I don't have any particular emotion about this, except maybe a little irritation at myself. I've been sent into this old stone ruin of a fortress, and I'd intended for only five particular men to be spared. Now I'm down to four. It's not ideal, but I'll have to live with it.

      I couldn't hear her very clearly from my hiding place under their bed, but the woman who stabbed him said something to the effect that he should have recognized her. Some personal revenge thing - none of my business. Now I'm seeing the sort of smoke haze of colors passing before my eyes that I associate with life leaving a body. I watch it dissipate in the air, and I'm irritated at the waste. Waiting around is pointless now - and the woman should be directly above me. I stab up through the mattress.

      When she dies, my perspective shifts. I'm floating in the void, with this massive black slab of a door in front of me, as wide as it is tall, some kind of geometric symbol across it. It's standing on this sort of grid far below, like a chess board where all the squares are black, with the door as a line across the center of the board. There's a few gravestones occupying some of the squares of the grid - that's new. I realize immediately they represent the previous targets the door sent me after - one of them must represent that woman whose death brought me back here. The door's saying something in my head about bringing it wisdom for the dead.
    7. Diamondback, Al, false walls

      by , 06-10-2014 at 06:43 PM
      Near Dark-based, I'm enjoying watching Diamondback as this motel desk clerk tries to fight her off. She's just come around behind the counter, and she takes out her knife and stabs the desk clerk straight through the back of the hand, pinning his hand to the desk.

      FMA-based, Ed's automail arm's bothering him while he's staying in a sort of underground village, and he's talking to Al. I'm briefly wondering why Al has a human body at this point in time, but then I remember that he retrieved his body very early in their journey, and then spent the rest of the time trying to retrieve something along the lines of his mind or memories or soul.

      I've just entered into some wealthy household, and the lady of the house is greeting me. She uses formal greetings that trick me into responding in a way that formally declares us to be on friendly terms. By doing this, she's effectively prevented me from being able to bring up past grievances. This is very irritating. I'm thinking about how this way of manipulating words is something that she taught her husband, and it's the main thing that allowed him to make his fortune - that and the skill of building false walls that she also taught him, both things that she learned in her time working for a kind of illusionist or something similar, before she married. As I'm thinking about this I'm seeing an image of a false wall in their house which they use to spy on visitors, and then a scene of her visiting the court of a nobleman. She's raising a glass and saying "To the ruler of the land, Sho Haoon!" Calling him the ruler of the land is sort of overstating things - it's a position that's in question. She's been flattering him a great deal in order to get what she wants.
    8. Taking the long way around, and Las Vegas

      by , 05-24-2014 at 09:12 PM
      Someone's been describing a group of people to me, and he's just moved on to describe two partners who are separate from all the others in some way. His description focuses on one of these two, but my memory only really picks up when he moves on to the second one by saying "Another one, always in darkness." (Or shadows, or something with a similar meaning). I see an image of him as a tall hooded figure. I like him instantly. The guy describing him says that unlike all the others, this one exists in "both long time and short time." I see him in modern clothing now, living and working at an isolated shrine. By "exists in long time," it means that this guy's forced to go through time the long way around, living through each day one at a time (that is, the way time usually works), waiting for the others to reappear. That seems tragic. I'm thinking that he must be immortal in some fashion, to be able to wait for the others' timelines to intersect with his over centuries. The guy talking references "the swords that take the end of each user's life."

      (Woke up. Back to sleep.)

      I'm sitting on a bus waiting at an intersection, looking out the window. One of the other passengers says we've reached Las Vegas now. I see a sign on a building that includes Las Vegas in the name, but the road we're on now is in a small neighborhood, small town atmosphere. The bus is just across from a small store, and there's a guy standing by the door playing a guitar. I'm enjoying the music. So is the girl sitting on the seat next to me. There's an old man sitting across the aisle who looks over at us to make sure we're paying attention to the music. He talks about the importance of paying attention and enjoying what's going on around you, something about being open to messages from the universe and synchronicity and all that. I'm bored with this conversation, but then I think that I've been hearing that sort of thing so often lately, between work and now this guy, it's a synchronicity in itself. (Except since it's turned out to be a dream, that's no longer true. Dreaming about things from work isn't exactly synchronicitous.)
    9. Library

      by , 05-17-2014 at 07:23 PM
      I'm standing outside my IRL local library with two women. One of them needs to get something from inside the building, without getting caught. There's only one person inside to avoid being seen by, that and hiding her face from the cameras, so it seems fairly simple, but she's still worried, and she's standing around working out various plans. This seems to be something she intends to do on her own, she's not asking either of us for help, and the other woman with us is just waiting impatiently off to the side, but it seems to me this would go a lot easier and faster if I just went ahead and took care of it myself. After all, unlike her, I don't show up on video, and it'll be much easier for me to avoid that person inside - they're mostly walking around the main area near the door, so I'll just go around to the side of the building instead and walk through the wall.

      The section of wall I phased through comes out in the fantasy section, off in the corner of the library and out of sight. I'm looking around at the fantasy books, and thinking about how I used to eat this stuff up, and about how much more difficult it is for me to get lost in a book now. I'm aware that the quality of the books hasn't changed, it's my own mindset - but I somehow feel sure that if I look at one of these books, now I'll find one I can get absorbed in. I pick one up and flip through. The paragraph I'm looking at now involves characters named Maedhros and Fingon - I recognize the names from Tolkien, and I note this as odd, since this isn't a Tolkien book. These aren't meant to be the same characters either; the author seems to have just stolen the names for his own characters.

      The dream scene changes to a scene from that book. One character is explaining three weapons to another, and he's making a big deal out of a knife that secretly contains some kind of poison. He says there are two options with this - a whole dose inside will kill instantly, but "a thousand light touches... well, depends on how you define death." The scene changes; he's meeting a small group of people in a forest, one of them a queen, and they're coming to some agreement. He secretly places small doses from that poison in each of their drinks, which will give him some power over them - to his mind, this is simply making sure that they don't back out of the deal they've made. After they drink, they instantly realize what's happened and regret making this deal, but it's too late now.
    10. Metal ornament

      by , 04-26-2014 at 08:07 PM
      (From yesterday.) There's a girl on the grounds of some large estate, talking to a boy. She's been chosen to play some role in some tradition or game or something - it's something of an honor, but she's refusing to have anything to do with it. He's trying to convince her - not with any particular effort, just an aw-c'mon kind of way.

      Scene change - elsewhere on that same estate, there's a different girl, wearing a rather old-fashioned maid's uniform (this is a roughly modern setting), and she's standing against a tree. I have the impression she's tied there, but I don't see ropes. This is the role that the other girl had originally been chosen for. There's a group of people who've just found her - searching is part of the game, or tradition, or whatever it is. She's got an oval metal ornament on her forehead, covering her eyes, engraved with some scene. A boy reaches out to remove it - this is also part of the game/tradition/whatever. The 'dream camera' angle changes then, so I can't see the girl's face, but I'm aware that - and this isn't part of the tradition - it will turn out the ornament has a long, thin spike underneath, and the girl is dead. I have a brief image of blood around her eyes, or possibly eye sockets - from the angle I'm standing now, off to one side, I'm not sure which.

      A man's just finished examining the crime scene, though he's not anyone official. He's feeling outraged about something else he'd found, some belonging of hers that had been put on display, hung from a tree with ropes. Standing behind him is the owner of the estate, and that's who the outrage is directed towards. Highlander-inspired then: the man doing the examining takes out a sword - it had been concealed under the grey trenchcoat he's wearing - and formally introduces himself to the owner of the estate, who also has a sword, and who simply says "Yeah" - the implication being that his name's already known.
    11. Breath and healing

      by , 03-25-2014 at 10:40 PM
      After few non-lucid fragments (one interesting one involving a woman and a mythical being something like a bird and something like a qilin, and his 'missing part', which is in the form of another person this woman knows; otherwise dull), my memory picks up in a scene where I'm already semi-lucid (I'm controlling my surroundings and aware that this control is due to it being a dream, but otherwise have fairly low awareness and mostly go along with the dream storyline). I'm walking through a park with another man, while watching someone I think of as a killer, and I mentally push him toward his next target. However, at the moment I expect him to take out a knife, instead he puts his arm around his target's shoulders and hands him a cigarette.

      The killer, the target, and the man I'm walking with are all smoking. I take the cigarette from the man I'm walking with, intending to smoke it myself, but I find the dream won't allow it: first I'm holding nothing, it's back in that man's hand; then when I focus I find I can put it to my mouth and feel the physical pressure of it, but it doesn't resemble smoking. I've had similar problems before, when I deliberately focus on improving the realism of some complex physical sensation, and instead only wind up feeling the sense of pressure accurately, nothing else. I then focus on breath instead of on the cigarette itself, and something interesting happens. I have the impression I can control my surroundings far more easily by working in rhythm with my breathing.

      My memory's vague for the next two scenes, while I was focusing on breath - I saw this as a great development. (Dream logic inspired by meditation, maybe. There's no reason I should be breathing in a dream at all. I wonder whether I was actually in the same rhythm as my sleeping body's breath or not.) First I saw something like a shadow play, where the figures moved in rhythm with my breathing, under my control. Then I was walking through halls and passing people who appear to be from America of about 200 years ago, all of whom I find vaguely unpleasant; I still had the impression that I was successfully controlling something through breath in this scene.

      I wound up in a room where several people are sitting around a round table, and they call me and someone with me to join them. I start to sit down and an old woman stops me, points me to a different chair. To my left is a man holding what I think at first is a young boy. When I get another look at it, it has the face of an old man, and one of his eyes is that of a cat. This is all very unpleasant. I recognize him as my own cat, S., and I believe he's somehow sick. (S. died a long time ago, but I didn't remember this at the time.) We put him on the table, now in the form of a human-sized cat, and I chant a healing spell over him, mentioning a goddess, exerting dream control. Objects rise off the table and hover in the air, and the other people around the table join in, though by just chanting 'heal!' over and over again. I woke up while listening to them chant.
    12. If at first you don't succeed, rewind time and try again

      by , 03-12-2014 at 10:44 PM
      A man walks up to a wall and shouts at the guards on the other side, trying to get them to chase him somewhere. It's part of a bigger plan - but I've already seen this happen, and the plan didn't work, we need more people. So I shout to the guards too, telling them this man is a monster, send help, send backup, send everyone you've got. He turns around to look at me and is completely bewildered - he doesn't know me, he has no idea what I'm trying to do. But it works. He ends up being chased by far more people than he was expecting.

      They've surrounded him, and everyone's drawn their swords. There's a small audience of people who are thinking of this as a duel, despite the difference in numbers. He's killed immediately, but I rewind time to let him try again. As I do so, I see an image of a page in a book describing this scene as though it were a story - it only describes his actions, the duel, not the part about me turning back time. He keeps being defeated, and I keep rewinding time by moments. He's the only person aside from me who's aware of what just happened, so he has the chance to adjust his actions accordingly, although that's easier said than done and he dies over and over again. But I'm giving him an infinite number of chances to succeed.

      Just now he's cut the head off one of his opponents. The people watching the 'duel' exclaim over this. From his perspective that was the end of a long struggle in which he's lost far more often than he's won, but from the audience's perspective, the duel's only just started and he's completely dominating. A woman calls it horrific, the way he coldly executed his opponent. A young man who's an aspiring duelist is admiring what he calls 'the skill that comes with experience,' which amuses me, given my very different perspective on how well this fight is going.
    13. Brief semi-lucidity, and consulting a witch

      by , 02-16-2014 at 10:07 PM
      A scene ended with me getting into a car and driving away. While I'm driving, however, something goes wrong, I keep weaving into the other lane, and I wind up getting pulled over by a cop. I'm thinking, good thing this is just a dream. And I'd rather not stick around for this, so I go incorporeal and float through the roof, invisible. I look down at the cop being surprised by the car without a driver, and then I decide to bring the car with me: I turn it into water droplets, which collect in the palm of my hand.

      There's a memory gap, but I doubt the semi-lucidity lasted long after that. Next scene I remember clearly is non-lucid: a woman is consulting a witch, asking her to do a spell or divination for her. When it's over, the witch asks the woman what that looked like from her end - meaning that during the course of the spell, the witch realized this woman's got some magic of her own. And the god this witch works for may or may not have an interest in this woman. The witch asks her a question, about why she's trying to (do something) when she's got too much on her plate already. The woman explains: there's a guy who loves her "pretty bad" - no mention of whether it's reciprocated - and she "can't hear him anymore," by which she means hear him in her head - it's a vampire thing - and she's worried about him.

      (Woke up. Back to sleep.)

      I'm temporarily working for a doctor with a small private practice, I'm in training. The doctor's showing me a patient's chart and is asking me if anything jumps out at me - I say the patient's lost 10 pounds, but I'm thinking, that could just be a diet. The doctor points out what she wanted me to see: this patient's been suffering from hallucinations, describing strange sights and sounds. But she lives in the city, and there are all sorts of strange things there; and on the date that she experienced these 'strange sights and sounds,' there was a parade. I'm doubtful. I say, "I don't know, it's pretty difficult to confuse a parade with a hallucination." The doctor admits this is true.

      There was a scene where I went to talk with that patient, and by the end of that scene we've wound up talking casually in the waiting room, she's very pretty and very easy to talk to. Then a baby belonging to one of the other patients crawls up into her lap. It's got a dripping diaper. This eventually leads to an unpleasant confrontation with the mother, who denied that the baby was the cause of the mess; the mother becomes so outraged that she takes out a gun, points it at the ceiling and shoots.

      I grab the woman's arm holding the gun. The other patients in the waiting room all run out the door, except the one I'd been talking to. I get the gun away from her before she can fire the other bullet - it's a two shot derringer - and I hand it to the other patient. As I do so I say something along the lines of "Hold this for me, honey." Then I think, wait a minute, she was my patient a minute ago, that's very unprofessional, I can't go around changing a DC's relationship to me mid-storyline just because we shared a nice conversation and a life-or-death situation. The woman has pulled out another gun, and I take it away from her and hand it to the patient again - there wind up being 4 guns total.

      Updated 02-16-2014 at 11:54 PM by 64691

      Categories
      non-lucid , lucid
    14. Alice and the moon

      by , 02-16-2014 at 12:38 AM
      Alice (of Wonderland) kneels down and waits. I can see movement behind her, something approaching, but I can't see it clearly from this angle, it's hidden behind Alice, until it gets close enough to be standing right behind her: a man and a woman, something off about their eyes. I'm aware they're here to take her to (Purgatory or the Underworld, something like that). I can hear music, a tune that reminds me of vaudeville.

      (Woke up. Back to sleep.)

      Three people from a motorcycle gang, driving down an empty highway surrounded by fields of tall dry yellow grass, passing a billboard where the ad's been scraped off. I can only remember vague fragments of the previous scene, but it had been focused on the leader of these three, and he'd been trying to escape something - fate, his role in life, something like that. The transition to this scene means he's failed to escape. He's thinking something about a murder that happened in the past. There are police ahead of them, waiting for them.

      POV switches to those 'police', although they look more like military. Weapons are being distributed, grenade launchers, and one of them exclaims over the model, he's very knowledgeable about it and excited to be using it - he says his father or uncle used this same model in a certain war. Another cop, one who'd been in that war himself, says something sarcastic, along the lines of "Did he? That's nice. Did he bring it home for you to play with?" The cop who'd been excited goes quiet, says "Well, no, but..." The cop who'd been in the war doesn't like hearing it talked about by people who weren't there, feels strongly about those memories being something you should keep apart, not bring home to your family. But he starts talking about it now - he says, "Good war, (he says a year). A single man could've turned the tide by pledging his country to one power or another. And even a warrior likes to hear that."

      (Woke up. Back to sleep.)

      I'm in the moon kingdom from PGSM. (One of my lucid goals is to travel to the moon - I suspect that inspired this non-lucid.) Chibiusa's here, she grew up here, and I'm thinking, wait, how can Usagi and Mamoru's daughter be living in this time period?

      The scene changes with that thought. In the present, on earth, Mamoru's working as some kind of private security, wearing a suit, standing with other security around a limo that's stopped in the middle of the road, having some kind of confrontation. He's in trouble here, and he's aware Usagi's in trouble elsewhere and he won't be able to reach her to help her. He's holding something small and black, and he's remembering when it was given to him by a man who told him some words to memorize in order to use it, to transform. I'm thinking, the fact that he had to memorize the words indicates that he wasn't Endymion at all, he was simply playing Endymion's role, filling in for him; this was also indicated by the uniform that he transformed into, which resembled Endymion's but was much darker, almost black, unlike the real Endymion's much lighter blue. Now that he's trapped, he passes that black object along to one of the other men working security with him. He starts to tell that man the words he must memorize, but as he starts to say them, the man taking the black object finishes the words himself, he already knows them - indicating that, by chance or rather by fate, that black object has finally been passed on to its real owner. Endymion's true, light, uniform appears on him, and he leaves to find Usagi, flying through the air - which I have an incredibly bad feeling about. The real Endymion isn't necessarily a good person for Usagi to know.

      The other people Mamoru was with have left the scene, Mamoru's now kneeling in the street, surrounded by cops with a misunderstanding, and a police detective is holding a sword to Mamoru's throat. One of the cops calls the detective away - there's some order over the radio that means both that they're needed elsewhere and that Mamoru isn't guilty of whatever it was they think he did and should be released. The detective is extremely reluctant to follow this order, he doesn't want to let Mamoru go. The cop relaying the orders from the radio phrases those orders in a way that praises the detective's work up until now and stresses how much he's needed, and finally the detective releases Mamoru and he and the cops all get into their cars and drive off, towards a bridge.
    15. An iron mask and a censored broadcast

      by , 02-05-2014 at 01:19 AM
      I'm in a store that sells various forms of blades, among other things, and my attention's caught by an iron mask with a strangely curved dagger set into it, removable. (After I woke up I realized the dagger's shape was inspired by F/SN.) The mask's face seems very narrow, but I believe that the mask's features will fit themselves to the wearer. The eyes are particularly narrow and I don't see any holes to look out of. There's a long and narrow stylized beard that reminds me of ancient Egyptian art, which would cover the wearer's neck, and the mouth is designed to look as if it's been sewn shut. I like it.

      I'm distracted by the sound of more people arriving outside. There's a brief confrontation but they dismiss me and the people I'm with as not threatening, which irritates me. There's some debate over whether this post-apocalyptic, breakdown-of-society situation we're in will last, or whether things will return to normal in a few days.

      (Woke up. Back to sleep.)

      There are three astronauts who've said or done something that their bosses wouldn't approve of, and they've ceased broadcasting in a way that implies they're dead or soon will be. But when I talk to someone who wasn't watching their broadcast live, I find she's got a different impression of events, she believes everything's fine, and some reasonable-sounding excuse has been given for why the astronauts are no longer broadcasting. Their previous broadcast has been censored or changed.

      I'm playing a piano, using sheet music for a jazz tune I'd never heard before. The sun's going down, and the light gradually darkens until I can't make out the sheet music in front of me.

      Updated 02-05-2014 at 01:26 AM by 64691

      Categories
      non-lucid
    Page 1 of 2 1 2 LastLast