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    1. Witch, possessed

      by , 09-05-2016 at 04:01 PM
      A young woman's walking quickly through the woods just before dawn - the trees are sparse and thin, lots of fallen leaves from past seasons covering the ground; she's wearing simple dark clothing and a white cap, from maybe around the 1500s. She's very nervous. I follow her as she steals a black hen - she's thinking about some dog as she does it - and makes her way to a well.

      But just as she reaches the well, an older woman grabs her and shouts, "Witch! Possessed!" This woman's familiar to me. Painfully thin, red hair so short and strangely cut that I suspect it's growing out after being shaved off completely, wearing a nightdress as if she'd just seen my witch and jumped out of bed to stop her, but I don't believe it's a coincidence that she's here; I believe hunting witches is something she's done before.

      The scene changes. Three men - two middle-aged, one older, all still looking like it's the 1500s - are discussing the woman who'd been caught as a witch, and her mother. Her mother had been the same, accused of "magical transformations," but she'd died years and years ago, and the daughter had been raised by another since she was a child, changed her family name. The last these men had heard of her, she was to be married to some knight. They frame this marriage as a very good thing, that she had a good life that she's thrown away; but I hear them say this and I think indeed she was married to him, and that had gone very badly for her, and that's why she summoned me.

      Later. Different scene entirely, my IRL home, a pair of men attempted to break in and I turned them into cats. Cat burglars. They made for very angry cats but I was pleased with myself for the joke, and my sister had been wanting a white cat anyway.

      Updated 09-05-2016 at 04:04 PM by 64691

      Categories
      non-lucid
    2. Fortune telling

      by , 11-16-2015 at 10:05 PM
      There's a grand performance starting, but I've seen it all before, so I ignore the main plot, move past the crowds and deeper into the building where it's being staged, watching the parade of characters emerging to take their places. The very last to emerge is the witch queen, behind her two enchanted attendants. Since I'm the only audience member here, she takes me aside to tell me my fortune.

      As she talks, it becomes clear that she's mistaken me for a woman, and that she might not have taken me aside if she knew otherwise. When she pauses to give me a chance to respond, I keep my mouth shut to avoid spoiling the illusion; she's clearly not pleased with my silence but she goes with it. She takes a needle and draws lines of thread through the skin on the back of my hand, talks with thees and thous, and pronounces 'clan' like 'clin.' She asks whether I'll play the role of part of her 'clin', and I agree, which requires a verbal answer. Her attendants take out instruments to arrange the ends of the threads.
    3. Heartless

      by , 09-03-2015 at 07:19 PM
      Transitioning from a scene where I'd been holding a sword, thinking about the danger of carrying a sword without a sheath, fully aware this wasn't about literal swords.

      Three siblings meet on a road after a long time apart. One of the brothers is wearing armor and leading a small group of people fighting for some cause in his name; there's less than a hundred of them. The other brother and sister have just appeared hovering in the air, having traveled a vast distance in moments. The brother, I think of as a young version of myself; he's dressed in black, and says nothing throughout the scene, and there's a bloody vertical line over his heart, which I associate both with the heartless motif and with the sword in the previous scene. The sister is dressed in vibrant green, and I think of her as a witch. I'm thinking how much they've all changed since the last time they saw each other.

      The brother with the small army asks his sister if he could move like they do. She says he could, but he'd have to start wearing higher collars. It's a reference to the scar over the other brother's heart, who looks uncomfortable at the mention; the implication of her words is that this isn't something to enter into casually.

      I'm looking at the army traveling with him, and thinking about how much they've changed as well; I remember them with paint on their faces, thinking of them then as closer to a family rather than a lord and his followers, and I'm thinking that they've lost their identity, changing to suit the land they're traveling through. I'm thinking they were better off before they took up this cause.
      Categories
      non-lucid
    4. 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.
    5. Witches of the McKittrick Hotel

      by , 11-01-2014 at 07:33 PM
      A woman who's been flirting with me - neither of us seriously - is taking my hand under the pretext of palm reading, turning it this way and that. She'd been joking around, but as she's 'reading' my palm, she notices the tiny raised circle on the tip of my thumb that holds a retracted needle and she stops smiling, though she doesn't understand what she's looking at.

      (Woke up. Back to sleep.)

      I've been sitting in a lounge room in the McKittrick. There's a host and a microphone, allowing the guests to listen in on his internal thoughts as we eat and drink. He's been sitting in the booth next to mine, having a conversation with a woman, another resident of the hotel. But when she leaves, he comes and sits across from me. He's bewildered as to why I've spent so much time here tonight. Of course the guests are all free to enjoy our stay at the hotel in any way we choose, there's no wrong way to go about it, and if I want to just sit here and watch his story unfold, that's fine - but my stay is half over already. Why don't I go out and see the show?

      I'm thinking that I'll come back another time to enjoy the show - but nonetheless I leave the lounge and walk up to the next floor, which is in complete chaos thanks to the work of the three witches. Fragmentary memory here - I remember seeing the boy witch in passing and being annoyed with him, but no context beyond that. In a small room, I came across a woman who I realized has been/will be the next bald witch - right now she's another lost soul who came here on a mission but wound up getting drawn into Hecate's world. By the end of the night she has/will have shaved her head and altered her body language completely, transforming into one of the three witches for the next night.

      The last of the three witches and the people under her sway are surrounded by sexual images. I only saw her briefly in passing as she led a young prince off down one of the halls. But instead I come across the naked prophetess who'll be taking this witch's role for the next night, currently in the process of transforming into that role. She puts her hands on my shoulders and pushes me to my knees in front of her, and I'm thinking that it's always a man she chooses for this part of the performance - the other guests in the room with me are all women, and they remain standing, pressing in close around us, watching her with a look of worship. She has a woman standing guard next to her during this dance, making sure none of the guests attempt to touch her without her permission. One of those women watching laughs off this restriction, and to show how ridiculous she thinks it is, she reaches out and puts her hand on the prophetess/witch's thigh with a familiar attitude. The performance comes to a complete stop. In the trouble that follows, I move away from the crowd and into the staff-only halls of the hotel.
    6. Legend

      by , 03-09-2014 at 10:53 PM
      A fragment about a castle where there's a bottle containing the souls of witches, kept as a historical item for tourists to look at.

      Based on Legend, I'm visiting Darkness. He's going on and on about his plans to marry Lili, have her kill the unicorn and so on, gloating. I say to him, no. Her human boy, Jack, he's on his way here, and she's going to have to make a choice. She might have sided with darkness for the moment, but my side's going to win her in the long run. Darkness grants me that point - but "we don't have years." The choice she makes in the moment is the one that matters, not whatever regrets she'll have afterwards.
    7. 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
    8. Immortals and witches

      by , 02-10-2014 at 12:48 AM
      A setting based off the Victorian era or thereabouts. A man who belongs to some organization or secret society made a deal with another member, who is now dead. Now the man's been debating whether he'll bother keeping his end of the deal, since the other party's dead and thus isn't in a position to know or object. Right now he's in the dead man's home, in a type of storage area, going over some of his belongings that relate to that organization they're both in - that was part of the deal, disposing of some of these things according to the dead man's wishes. One of those belongings is something I think of as a 'cookie', though it's dry and tasteless, makes me think of hardtack. He decides to eat it after all, keeping up his end of the deal. Eating it causes him to become immortal.

      That same man at a later date, confronting his wife in her home, a basement room with brick walls but with several potted ferns and a table set up holding a large, beautiful book - her journal. She believed him dead, there was a funeral. He's standing over her journal, and he's asking why she hasn't been writing. He says, "You're not a (his family name - Bowman or Barrow or something like that), you don't (something along the lines of being driven by a consuming passion)." He feels that the changes and upsets in her life - such as his own 'death' - shouldn't have shaken her disciplined, well-ordered approach to her tasks. She's also immortal, in a different way than he is, but linked to him in some way. The nature of their immortality means they can't possibly live together again, even if they'd wanted to.

      That same man again is being pinned to a wall, held off the floor, by his daughter. They'd been talking relatively calmly earlier, but he realizes she's become a vampire, and her eyes glow blue and then gold, and now she's got him pinned to the wall. As a disembodied observer, I'm thinking that she has the same face as a pirate woman who'd died in this man's arms long before his daughter was born; the pirate had been Chinese and the daughter's a white Englishwoman, but I think of them as having the same face and being in some sense the same person, and I have a vague impression of a third woman, a servant in England, who also has the same face. The daughter says to him, "You know what to do. Then come get me!" He stakes her, and she crumbles into dust. He's still stuck hanging on the wall.

      (Woke up. Back to sleep.)

      I'm standing between a coyote and a bird. The scene after this discusses the coyote as wandering and gathering a pack of odd strays - other species, including housecats.

      (Woke up. Back to sleep.)

      There's a woman, a leader of witches, who's given me some instructions to carry out, something I'm meant to do with her grave after she's been buried. Now I'm digging down through the loose dirt in her grave, sinking into it. I'm afraid of it closing over my head and suffocating me. I get out of the grave and fetch my staff, and use that to probe through the dirt, waiting for it to hit something.

      After a few other scenes, mostly involving the witches but gradually transitioning into scenes with IRL characters, I'm walking through a bookshop and I spot a book with a title that mentions one of my lucid goals, the one I'd intended as my task for the day. I immediately become lucid, but realize I'm already waking up.

      (Woke up. Back to sleep.)

      There's a group of people getting together at a restaurant, taking up the second floor, a sort of balcony area looking over the main room. The owner of the restaurant's friends with the leader of this group, and he's saying as he escorts them in, "You're the one who wanted to do this here. If you wanted privacy, you should've-" The tone's good-natured. There's a table set out for three: the boss, his wife who hasn't yet arrived, and a prostitute. The restaurant owner's wife comes over to talk to them, and she knows the prostitute, they exchange some friendly words. The prostitute's asking what this is about; the leader's got some plan in mind involving her, but they're waiting for his wife to arrive before he'll talk about it. The rest of his people are arranged at the surrounding tables, waiting and watching the main table quietly.

      There's a woman who rose from the dead. Her girlfriend's explaining to her that this has all happened before, repeatedly: they meet, after a few days this woman dies, and then a little while later she'll turn up again and 'meet' the girlfriend again, with no memory of this having happened before.

      Updated 02-10-2014 at 01:00 AM by 64691

      Categories
      lucid , non-lucid
    9. Mountain climbing, parasites and escape routes

      by , 01-16-2014 at 10:11 PM
      Started out based on the Mulan musical that played in Tokyo a few years back, but the storyline started following the general, who no longer looks anything like the actress who played him, and now the dream has lost any theatre aspect. Now the general is the emperor's son, and has a name which translates to "divine," and has been summoned before the emperor. The emperor is blind, and from his eye sockets there are two strange things - flat, rectangular, worm-like things, something parasitic or symbiotic. Each has a small, white circle with a mark in the shape of ᛣ, and the general is aware that those marks can open and extend something that latches onto eyeballs and rips them from their sockets, he's seen it done before. The dream had been in 3rd person ever since I lost track of the theatre framing, but as I examined the things I shift to 1st person, the pov of the general, who is disgusted and afraid of the things.

      When his father dismisses him, he indicates that he should leave through a door beside the throne instead of the way he came. It's a small opening, extremely low to the ground, so that a man would have to crawl to get through it; it's designed to shame people, to stress rank and obedience. The general gets down on his knees before it, then hesitates and says "Father" - at which the emperor lurches forward, placing the parasite-things close to the general's face. It's not a threat, just an attempt to get a 'look' at him using the parasite's senses, which 'taste' the air, but it's an inhuman-looking motion, and the general drops whatever he was going to say in favor of getting away as quickly as possible. But he/I have a difficult time moving through the door as quickly as I'd like, and I realize it's because I'm becoming aware of my body lying motionless in bed.

      (Woke up. Back to sleep.)

      I'm leading some team climbing a mountain covered in snow, explorers, the first to climb this mountain in history. But the men keep seeing something, some shadow figure, and insist there's someone already here. I dismiss this as nonsense. But now that the peak itself is in sight, I can clearly see there's somebody up there.

      (Woke up. Back to sleep.)

      For the past few dream scenes, I've been in a car with my IRL sister S. and two women, a couple, witches; and we've been lost. We were lost on the road, we were lost driving through water, we were lost and mistakenly in the wrong house, we were lost and running from that house's owner, and now we're lost and we've stumbled across a street where every house seems to be having a party, spilling out into the street, blocking our way. They invite us to join the party, and while I want to just get back to the road, the others want to stay. I spot someone in the crowd, some minor celebrity, and I'm intrigued enough to agree, we check out the party. I talk to the minor celebrity briefly and find him disappointing.

      Later, inside one of the houses where the party's going on, not much liking the company and wanting to get a move on, I've been cornered by some guy who's much taller and larger than I am and who seems to have mistaken me for a woman. He asks me if I believe in promises, and starts hinting very strongly that he believes we knew each other in a past life and are destined to be together. Yikes. I manage to shake him off and go find my sister in the kitchen, tell her that it's time we leave; the witch couple we were driving with join us and say "Um, we should go. Now." The lady of the house is in the kitchen with us and at this point she probably thinks we stole the silver, but we get out of there - through a window that opens onto the porch on the side of the house, rather than going back through that party to get to the door. As we're climbing out the window, one of the witches says something explaining to me and my sister why we've got to leave in such a hurry, something involving some guy who'd introduced himself as 'Psych', and I suspect it's that same creep.

      Out on the porch, one of the witches looks behind us and gets a horrified look on her face. My sister asks what it is, and the other witch says oh, she just saw Ben - her ex, who's dead - don't look, just go, get off the porch, now. The porch is narrow enough that we have to go single file, I'm the last, and as each one gets off the porch and onto the street and looks back, they look increasingly horrified - Ben's a minor nuisance, their expressions indicate Ben was just a symptom of something more going on here. I feel something strange on my back, at the base of my spine, and my motions seem too slow; I become aware that it's because I'm waking up.

      Updated 01-17-2014 at 06:20 AM by 64691

      Categories
      non-lucid
    10. Android, duel, witch

      by , 01-05-2014 at 01:09 AM
      A fragment in which I'm waiting for someone in a subway station and meet an android, though they've been banned. She looks human except for her eyes: they're filled with a constantly-moving white light, and her eyelids are covered in jewels.

      Utena's dueling someone, and her clothing's changing as she does so. Other duelists are running up the stairs and arrive just in time to see her win, and Touga says something complementing her on her confidence, that she could trust that the changes going on around her would serve her.

      He goes on to say something about those changes reflecting past eras, which transitions into images with some vague connections - something about a limousine, and then something about flight patterns with an image of a witch flying on a broom, which leads into the next scene:

      A guy who's just now become a witch is looking out the window at the approaching dawn, and he wants to go flying and feel the world wake up around him; but he has responsibilities to attend to, keeping him here.
    11. Dead, undead, and the apocalypse

      by , 12-12-2013 at 11:45 PM
      Fragments - song lyrics misusing the word indigent ("all the charm indigent in you" - I assume it was aiming for 'inherent'); and later, a fragment involving a tribe called Indogen, immortal creatures that were 'judged unworthy by god' and sentenced to stay in this land (wherever the dream was currently set) instead of continuing on their 'journey to the sun.'

      An apocalypse scenario; I've run through this scenario two times already and failed both times. First, I have to leave this building quickly, and avoid getting involved with this group of people; that was the mistake I made last time. Second, I can't forget to (something to do with a virus and immunity or a vaccine or similar); that was the mistake I made the first time around. Third, I have to track down three men: one's a scientist whose theories are closely related to the events that are about to happen; the second is a specific doctor.

      When I leave the building through the back door, the storyline changes; I'm caught up in some kind of street performance going on just outside, and a woman in the crowd sees me and recognizes me, and comes up to thank me for something I'd done for her in the past involving her ring.

      Another apocalypse scene then: a woman who's carrying her son, looks around 3, is begging me to take him with me.

      Rumpelstiltskin. There's a horrible smell coming from somewhere in the castle, and finally I've found the source: there's a dead body, someone who broke into the castle and got himself caught in one of the traps designed to stop such intruders from stealing my things. Belle and I have been calling back and forth as we were trying to figure out where that smell was coming from, and I'm pleased I found it before she did. I call to her now, telling her that I've found it and am taking care of it, without letting her know what it was. I magic it away.

      Julia's ranting to me about something to do with the news, full of righteous anger. There's some important event going on in the world, some tragedy or disaster or outrage, and she doesn't feel they're covering it well; she's specifically talking about CNN's failure to report on real issues. I'm happy about all this - happy about her righteous anger, that is, not the tragedy or whatever it was - I love how she cares so deeply about these events that I've come to see as commonplace.

      There's a girl, a witch, stopping in a school hallway to stand before the memorial to a recently-dead classmate, covered in flowers and candles. The dead girl was also a witch, although this isn't common knowledge, so although she didn't know the dead girl well, she takes this very personally. She's thinking about how she has something that belongs to the girl's killer, and about the girl's mother, and about poison. The candles burn down to stubs as she looks at them, and various other things around her start to catch fire; a boy who was close with the dead girl had been watching nearby, and when he sees this, he starts to run away. She stops him, corners him. He asks what she is; she says he'll never know, but that since he failed his friend, now there's someone else he has to protect - her.

      A woman is introducing two of her friends to each other outside a mausoleum, introducing one of them by the nickname she calls her, "Little N." It's N's family mausoleum they're standing in front of. N introduces herself as "Anekhet (last name sounds something like Sastemony) - or Little N." From her tone, which is pleasant, it's still clear that the Little N nickname is a name for only this particular friend to use, not the man she's being introduced to. The man introduces himself with a bow as her ancestor and the founder of this town, and a "comocido" - which in the dream seemed to be a word related to suicide or homicide, a word that indicated the specific way in which he was killed, hundreds of years ago. Anekhet is surprised but not particularly thrown by this.

      Integra is watching a map showing enemy vessels approaching England, trying to calculate how much time she has left, torn between two objectives, and finally she dispatches Alucard to a certain ship, to destroy it if he doesn't hear otherwise after a certain amount of time. Alucard drops out of the sky onto that ship, and in his head he's intensely focused on the form he needs to take at any given time, it's almost like psyching himself up, or like playing a role.
    12. Bordeaux, the sense of taste, breaking down, cable systems, and building a swamp on a spaceship

      by , 11-21-2013 at 11:17 PM
      Wednesday:

      Fragments involving a man with a hook for a hand, giving him a hand and taking his hook myself; a witch who was trying to force the hook-man to sleep so that she could somehow influence him in a dream; a prince and his army who arrived on this scene, with no knowledge of anything going on between the witch and the hook-man; and a man with some form of mental connection to the witch, his sister.

      A man visiting his wife's family with her, the first time since they were married. The father-in-law's distant and judgmental. He's saying, "You'll have to understand, we only drink old French wines here - Bordeaux," that being where the mother-in-law's from. Inside, the mother-in-law is a tiny woman with long, thick grey hair, very warm and expressive. She asks her son-in-law how his meditation practice is going, and asks if he's getting by okay in New York - which he loves, but she doesn't understand how anyone could enjoy living in cities. She says, "You've been in that city for about a hundred years, but you seem to have left in a good mood." He finds her energy overwhelming.

      In a small restaurant, the baker's brought out samples of new doughnuts for everyone to try, I had two, one with a peach filling, the other blueberry, and I was surprised by the taste of the 'blueberry' - it reminds me of pixie stix and sweet tarts and similar childhood candies, not in the sense of being sugary, it's more the type of flavoring those candies use. I comment on it, and someone at the next table asks what this lump in theirs is. I look and point out to them that it's a blueberry. They've never seen a blueberry before?

      While walking across a field, I'm explaining to someone what juice is. I wind up having to describe it as crushing something until its external protection breaks down and its liquid insides run out, and I'm trying to figure out how to make it very, very clear to the creature I'm talking to that this is something that should be done only to plants.

      As Rumpelstiltskin, I'm in a dream world, talking to an image of Regina that is breaking down and melting after being attacked by someone else, and I'm saying, "This isn't you." Allowing herself to show weakness, I mean. I say it again, then reconsider - it's possible this is one side of her, or even how I think of her. There had been a young girl with her, and now I take the girl by the hand and lead her away, ignoring the image of Regina that's still falling apart.

      Someone's telling me they need me to act as a detective. I cut them off, saying, "What, I'm supposed to magically figure out where the dying guy came from?" But I do find some form of trail, scratches on the floor, leading to what seemed like a wall but which must have some kind of opening.

      Vampires. I brought two humans to see a friend of mine, I wasn't intending to kill them, and I'm a little annoyed at my friend, but I'm not making any effort to stop him either. He's saying to the humans that he hasn't decided yet whether to kill them or turn them. His fangs dig into his own lip, and he spits blood on the human he's got pinned down, which has a sort of acidic effect. I, the dreamer rather than the character, observe that it's much like the way flies break down their food.

      I've been working on a system of cables to allow transportation around an island. It's something two guys had been using on a very small scale on their own property, and I've been working with them to expand it to cover the entire island. I'm mostly doing this to help out a woman I'm in love with who lives in a very remote area, but it's going to benefit everyone on the island. Now I'm looking at the initial stage that's about ready for a test run, and feeling proud, when a troop of soldiers with wings descends out of the sky. Their leader - who I've met before, in a friendlier setting - arrests me on suspicion of killing the king, among others. This is a setup - I know who the actual killer is, and I came to this island in the first place to hunt that person. I'm blaming myself for getting distracted with this side project; if I'd focused solely on my mission, maybe he wouldn't have had time to frame me.

      Thursday:

      There's a room on a spaceship that's being converted into a sort of swamp. This alien species needed this certain type of room for some cultural reason to do with the sharing of emotions, and so we set it up for him. One of the other aliens, from a different species, says that if humans turn out to be understanding and reasonable, s/he's going to be very disappointed. I say nah, don't worry, no matter how many understanding and reasonable humans you meet, you can always count on a few of us to mess things up, every time.

      A group of vampire hunters. A man leading things over the phone; someone who is either a doctor, a former doctor, or simply someone who steals meds from hospitals, refusing to be hurried by the hunters around him; a recording of a man interacting with someone who doesn't show up on video, with viewers arguing that it's definitely faked.

      Updated 11-21-2013 at 11:40 PM by 64691

      Categories
      non-lucid
    13. Fragments

      by , 11-09-2013 at 10:08 PM
      A woman's talking to some kind of spirit in a mirror, something that's teaching her magic. Watching this, it strikes me that the stories about vampires and mirrors come from the same place as this creature.

      Based on AHS, 3 witches (including the supreme and her daughter), the daughter's blind, the other two are each missing one eye. Someone makes a blind-leading-the-blind joke. I'm thinking about the Graeae passing an eye between them.

      Partners looking for a serial killer had three suspects in mind, but tracking them down has ruled each of them out. One of detectives is approached by a woman who believes her husband, Darryl, may be the killer. The detective ignores her, having heard many claims like this; but ignoring this one is a mistake, the woman's claim is true.

      Four teenage girls have barricaded themselves in a room, two of them trying to protect the other two. There's some form of cult that's taken root in the town, there's an image of a girl in a bathtub covered in blood related to this; and the cult's summoning these two girls now, but they need the girls to come to them, they can't enter the room themselves. A girl from the cult appears outside the door as a sort of delegate, to talk.

      Dorian Gray is talking to someone about the house he wants to leave, and the way memories seem have ingrained themselves in the very walls: the scent of a decomposing body even though he's long since disposed of it, the sound of music on the stairs although the musician's gone.
    14. Floating along a river

      by , 11-07-2013 at 09:22 PM
      I'm standing by a light switch in pitch black darkness, and the lights won't turn on. I question whether this is a dream, doubt it at first, but then realize yes, it is. I have a sort of false awakening in which I still realize I'm dreaming, but now I become aware that I'm lying on my back in a bed in the guest room of my father's house (no resemblance to anywhere he's lived IRL), with his cat curled up against my legs - nothing's changed visually, it's still pitch black. I look up at where the ceiling would be and think about stars, and about a previous lucid dream where I removed the roof and floated up into the sky, and debate whether to do that again. I feel like there's something else I want to do here first. I can hear my father and his girlfriend watching TV in the next room and talking to each other. As I listen to them I forget that this is a dream.

      Memory gap - some time later I'm standing in a different room, again trying and failing to get the light switch to work. I hear the sound of my stepbrother coming home and going straight to his own room. This light switch has several different switches and dials that I can't see in the dark, and this time I wind up taking out my ipod and holding it up as a flashlight. I can see the switches and dials now, but I still can't get them to work, and then I remember that this is a dream.

      (Woke up at 5:30, half an hour after getting to bed. Back to sleep.)

      I'm going to visit someone I owe thanks, bringing a guitar to play for them. One of the strings snaps.

      At my father's house, some guy is trying to talk to my sister S., he's angry and seems obsessed, and while they're arguing he picks up a knife - not to threaten with, but it's the last straw, me and my father kick him out.

      At my mother's house, one of her former students is at the door with some friends, and he's talking to her about some technique that's recently become a fad. Everyone's very impressed by his expertise, and it's driving me nuts because this technique is just a cheap knockoff version of something I've been doing for years that no one's ever taken seriously, and this popular version is much less effective. We get into a really idiotic argument which leaves me feeling frustrated even after I woke up.

      (Woke up. Back to sleep.)

      I'm lying in bed in the wrong house, and some boy shakes me awake to tell me I have to go. I apologize and try to explain that I'm not there to do anything bad, I just got the wrong place, but I can't remember the word for 'place' in Japanese and have to fumble around trying to find a different way to say it. He gets the point but doesn't really care, he didn't seem particularly threatened by a stranger in his house to begin with, he just wants me gone before his mother wakes up. I walk out a back door that, aside from a little ledge, opens directly onto the river. The kid tries to correct me, pull me back inside so I can use the front door and actually leave, but I just step out onto the river and stand on top of the water, which is a normal thing for a witch like me to do. The kid's surprised, the water and the light are really vivid, it's all very pleasant. As I'm appreciating the vividness, I become aware that I'm thinking of this as a dream.

      I walk a few steps into the sky and start floating, heading somewhere specific. As I float above the river, I pass various people, and I start to hear a song, people are singing it. I pass two brothers sitting in chairs having some fashionable procedure done, a row of string sewn above their lip, to me it looks like they're having their mouths sewn closed. It strikes me as odd, but I remind myself that this isn't my time period so I don't have the full context, not for me to judge.

      I reach a roller coaster, and there's a man and a woman riding it, the people I've been looking for. They're also singing that song that's been going on, and the lyrics tell me a little about their history. She has (or possibly had, up until very recently) a life-threatening heart condition. Their song is about the possibility of fixing a heart only to get hit by a bus or something similar, and the way people think they have time. The guy, singing in English with an Irish accent, sings a verse about how if (some name, some guy he knows) died he'd be singing a toast to him.

      Song's over. Now that we've all met up in a dream, as planned, the guy asks whether we should wake up now. I'm inclined to agree, mission complete, but I think it's a little ridiculous to waste a lucid dream, there ought to be some fun we could have before we go. The guy leaves anyway, the girl stays. She says to me, "I have questions." I say to her, "I... probably don't have answers." She starts to say something else, but I become aware that I'm consciously thinking up her next dialogue for her, and that I'm waking up.


      (Woke up. Back to sleep.)

      Forever Knight-based setting, I'm Nicholas, and I'm being posed a question: between Janette, LaCroix, and an apple which represents my hope for humanity, I can only save one. What's my first instinct? I dismiss the apple completely but can't decide between the other two, which is annoying since the entire point of this exercise was only to see which came to mind first, without overthinking it.

      Scene changes to an Umineko setting - Beatrice, who'd posed the question, is annoyed with the way I've spoiled it, and she retreats into the other room with aunt Eva. She says something to Eva that I can hear through the door, something about how the only hope is the "good key (name of key)."

      Updated 11-07-2013 at 10:31 PM by 64691

      Categories
      false awakening , lucid , non-lucid
    15. Mina Harker, Freddy Krueger, eyes and visions

      by , 10-25-2013 at 07:17 PM
      I'm walking home after a storm, a few trees and power lines have been knocked down. But there are also a lot of trees that look as if they were cut down, and I'm thinking it's as if the town tried to get into the woods to clean up something after the storm, and they simply cut down anything in their way.

      I have to walk over a downed power line to get to my property, I stop at the mailbox, and as I pick up the newspaper I/Quincey think about Mina and how calm and still she's been, and I think - in words, as if this were something I was writing out - "that's when you really have to stay with people. But I couldn't."

      Mina's sitting on the sofa, perfectly straight and upright and with her hands folded in her lap, and when I drop the newspaper beside her she doesn't move, only smiles a little. I'm reluctant to disturb her further but there's something I have to show her, something I've learned about the way we think, her and I and anyone else caught in this transition; it will upset her, but all information we can gain from our condition is something that can be used as a weapon. I fetch a white sheet and silver hand mirror and I shove them at her, apologizing as I do so; I hold the sheet up behind her and ask her to take up the mirror. I/the dreamer as disembodied observer wonder what I/Quincey am planning to show her with those - surely not just our lack of reflection, that can't be new information. No, I/Quincey am thinking something about pattern or texture.

      (Woke up. Back to sleep.)

      A man who's risen to political or religious power - either way, a man who's gained sway over a small community, virtually overnight. His collaborator is disgusted with him.

      A girl yells after Freddy Krueger as he's forced by something else to retreat into the woods, "You're a real (some insult)!"

      (Woke up. Back to sleep.)

      I wake up sitting in a chair in a hospital waiting room, I note the time as "sometime between 2300 and 0800." I had a friend do an autopsy on a case I'm working, off the record. The victim had a demon eye transplant in his forehead, and sometimes those things go bad. But my friend at the hospital found no more than the usual amount of decay around the eye. I'm looking out the window at the billboards you can see around the city, there's one with an image of a guy with a demon eye, another one directly across from the hospital with a picture of a woman on it, and I'm wondering exactly how large these things are in terms of a percentage of your field of vision; most of the time I hardly consciously notice them, but how much of an impact are they really having on people? I'm remembering a line from a book, about a woman who'd just arrived in the modern age and was pleased by the sense of desire everywhere. (Accurately remembered line, the book was Clive Barker's Weaveworld.)

      The zombie boy from the American Horror Story series is sitting on the floor, focusing on the burnt, hollowed-out eye sockets of his rapist's body. He fits the head back into place, then looks up at the witch girl who brought him back to life, who looks sickened, and he says, cheerfully, "Doctor!", like he's calling her to go to work and pull off another resurrection.

      (Woke up. Back to sleep.)

      A young woman sitting with a book is talking to another woman sitting in a curtained bed, saying "Gonna wave you in. Stop me if (something)." The one in bed acknowledges this, and the one with the book passes her hand over the other woman's face, then starts reading a series of words from the book that sound random to me - "If, old, some..." As she speaks, the one in bed gets purple-tinted flashes of another person/place, too brief to make out anything but getting longer and more stable with every word spoken from the book.

      I'm standing at a crossroads of a low-income neighborhood out on the edge of the city, reading a sign that says Cheese Road (or Lane or Street or something), and pleased to have found the place from that vision in the last scene. A car drives up to the stop sign very slowly, I find it suspicious, but it drives off in the other direction.
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