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    false awakening

    False Awakening

    1. An unusual transition

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

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

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

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

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

      Categories
      lucid , non-lucid , false awakening
    2. The rose garden, aiming and missing

      by , 09-30-2014 at 08:51 PM
      After going lucid and abandoning the storyline I'd been in, I'm walking to a simple full-length mirror leaning against a wall. I focus on my intended destination - the rose garden, a meeting place. As I place my hands through the glass, I lose all visuals. My hands sink into the glass as far as my wrists, but no further. The 'hole' beyond the surface of the mirror that acts as a portal isn't open enough. I can feel jagged edges against my right wrist, as opposed to the heavy liquid-like feeling of the portal. It's like I've broken open a hole in a frozen lake. I stay focused on the destination and mentally dig at those edges until they give.

      I can feel a wall of thorns all around me so that I can't move. I still have no visuals, I think of this as between scenes. I'm annoyed at myself - this is the barrier around the garden, I shouldn't have had to deal with this at all. It was an error in focus, thinking about roses and sharp edges. I try to correct my focus but find myself waking up.
      (Though it wound up being a false awakening. Visuals returned when I 'woke up.')
    3. Fallen angels

      by , 09-23-2014 at 06:25 PM
      There's a group of people camped out in a field. One of them's a veteran of multiple wars, very old now, and she's berating a young man who wants to leave. He's frightened; he's heard of traps, innocuous-looking pieces of paper which will curse the reader to be killed, or else to kill others until you die.

      (Woke up. Back to sleep.)

      A mother and daughter in the center of a crowded throne room, with a royal baby (not either of theirs) in a basket. The daughter quickly steps to the basket and announces that like a sister she'll tend to the child with loving care. This is a calculated move. She wants it to appear to the crowd as if she's being a good loyal subject, and to appear to her mother as if it's part of their secret political power grab. The truth is closer to the former - the daughter has no interest in ruling and is trying to spare the child's life without making her mother suspicious of her.

      Fragment - I'm someone describing the differences between those who fell more recently, the Grigori, and the first fall "for pride or love or whatever we're calling it now."

      False awakening. I'm writing down a previous scene. In it, I'm someone in the lobby of a place where I work, and Satan's just walked in to see me. There were a number of things I wrote down as being off about his appearance - the last thing I wrote was that there was snow still on his shoes - he'd become human. I'm kind of torn about how to react to this. On the one hand, this is bad news for me - whatever happens to him affects me too. But on the other hand, this is hilarious.

      (Woke up. Back to sleep.)

      I'm someone in an abandoned warehouse, talking with a fallen angel about his plans. We don't get along. As he's talking, a portion of the roof caves in, and through the hole I can see a human woman up there who's been listening to us. He knows her; she's part of his plan, but she's been opposing him. They have a brief shouted conversation; he says, "You won't hurt me, Jane."
    4. Vampires and snakes, rain and memory, underground storage

      by , 09-05-2014 at 07:01 PM
      There's this vampire who went through a bit of a rock star phase in the 60s. During that time he had this assistant who would occasionally arrange for the vampire to wake up with one of his groupies locked in the same room. The vampire resents this. He compares it to throwing a live, venomous snake at someone - neither the snake nor the victim has any choice in the matter, the snake is used as a tool.

      (Woke up. Back to sleep.)

      This woman, thoroughly soaked by the rain, just completely drenched, has just been put into the back seat of a car. The man who's just gotten out of the car and insisted she take it is now standing in the rain. After just a moment the woman gets out of the car again, makes this sort of exasperated sound, drapes her coat over his head to keep the rain off, and gets back in the car. The coat is thoroughly drenched so this does absolutely nothing to keep him dry, but he gets this big lopsided grin.

      There's another guy standing in the rain with him, and my first impression - before the woman had gotten back out of the car - had been that the two men were enemies of some kind, but that the first guy was obliged to go along with him for something. But looking at the second guy again now, on second thought I'm thinking of him as a friend.

      The scene changes to show the woman and that first guy again, parting at a rural train station sometime in the 1800s. I'm thinking about how during the scene in the rain, they hadn't remembered each other from this time. Part of immortality - it's important for them to forget every so often.

      False awakening. I try to write down this past scene, and write that there were three different ways things could go for that pair in the rain. The best route for them is associated with fire.

      (Woke up. Back to sleep.)

      I'm a man passing a large arched opening in a stone wall, and as I look at it I remember that someone had asked me to fetch something for him from down here. I hadn't intended to, but since I'm here anyway I might as well. I go inside, into an immense underground stone dome with a dirt floor. It's empty, and large enough that it's difficult to see the other walls, but I'm aware there will be a door off to the right leading to a place where things are stored. As I'm walking, I hear a voice accusing me of enjoying blood. I don't see a physical source of the voice, but I expect he'll show himself eventually. I sort of laugh at the accusation but otherwise ignore him and keep walking. The voice continues: "If you are one of the evil dogs, care to know as much as I do?"
    5. Scarecrows and warnings

      by , 09-03-2014 at 08:51 PM
      A dream ends with my mother's death by self-inflicted head wound, in a scene comparing her to a woman who'd shot others in order to protect the family; this is followed by several false awakenings in which my IRL sisters and I realize we've all had that same dream and argue over whether to go check on her - S. was against waking her. (There was also a room behind S. that I recognized as out of place, though I rationalized it away.) In the last false awakening we finally do check on her, and the head wound turns out to have been a metaphor for a stroke she experienced in the night; I go to call 911, only to have her stop me and explain that the stroke is also a metaphor - she removed something from her mouth which had been distorting her speech and features.

      (Woke up. Back to sleep.)

      I'm in a field looking at scarecrows tied in place with gold that shines in the sunlight. I've just been hearing a story about how they got here - they were people once. Dead now. There's a mist starting to come down from between the mountains at the far end of the field, as it always does at this time of day though I've never been here to see it before, and I'm watching it make spiraling patterns in the sky. It's very beautiful.

      As Spike, I'm sitting in a classroom that Buffy's gang is using to talk about an apocalyptic threat - something involving a demon from another dimension - I'm annoyed at how blasť they are about it. I'm aware this is normal for them, but it's something that shouldn't be normal for anyone. It's as if they're not taking a warning seriously.
    6. Sandman, storm, black dog

      by , 08-15-2014 at 08:07 AM
      A nightmare involving a creature called the Sandman whose facial features are fluid, constantly slowly changing; and then a false awakening in which the Sandman creature is approaching my POV character's bed.

      (Woke up. Back to sleep.)

      I'm walking around the grounds of a mansion where I've been staying. Talking to someone, he's looking at something behind me and says, "Look at that, straight out of a painting." I turn around to look. The sky in the distance is yellow-tinged and nearly completely covered by these two dark slabs of storm clouds, like solid walls. The opening between them makes me think of the parting of the seas. The water beneath those clouds is being tossed up in such a way that it's revealed an old and famous shipwreck, it's been pulled out of the depths. Another ship, a modern one, is thrown out of the sea by the winds, and it crashes straight through one of the massive floor-to-ceiling windows of the mansion.

      (A false awakening mostly about trying to describe that last scene, then actually woke up. Back to sleep.)

      I'm looking after an enormous, shaggy black 'dog' - more like an enormous wolf - that belongs to my neighbor. Most of the dream revolves around playing with him and petting him. When I go to feed him, his water is kept in a intricately curved copper tube, almost like a French horn.
    7. Freezing time, reversing time

      by , 07-25-2014 at 09:00 PM
      A false awakening during which I tried to write down the previous dream. The dream I was writing down was a Rumpelstiltskin POV, and I'd written that in Belle's version of their shared dream there had been no corresponding scene with Bae. When Rumpelstiltskin found this out from her, he had a sort of bitter "aha!" reaction to it, as if this proved him right in doubting something. But now that I was 'awake' and writing this down, I thought he was mistaken in that reaction. There was more I wanted to write, but my pen ran out of ink. I went to fetch another and was distracted by various things.

      (Woke up for real. Back to sleep.)

      There are four servants in a mansion, one who's getting ready to serve guests. The other three have to stay out of sight of the guests, and two of them have stepped out a back door to talk about something.

      The other one of those three servants, the only woman among them, finds those two standing around the open door and is very upset at them for leaving it open. They have some reason for it - but while doors are open, the spell that freezes time inside the mansion weakens. Allowing a few minutes to pass here and there means very little to them, but that fourth servant, the one currently serving the guests, is human. He only has so many minutes in his lifetime. She wants to preserve that limited life of his for as long as she can, even if it's only a few centuries. She's furious at them for allowing any of it to slip away.

      (Woke up. Back to sleep.)

      A car crashes out of a portal onto a hill. The woman inside is unconscious, and when she wakes up, she gives the name of a flight that crashed with her and her husband on it. She believes that she's just woken up after that plane crash; she doesn't remember the car or the portal. That plane crash happened days or weeks ago. But she's taken to the hospital where her husband is still staying.

      When her husband sees her, he's shocked to see she looks much younger than before she disappeared. He takes out her compact mirror from her purse - he has all of her things that were found at the plane crash site - and hands it to her. As he does so, I see an image of her at three ages. Her appearance now is a young woman with strangely large eyes, blonde hair worn straight back under a headband, neatly dressed. But I'm also seeing a version of her several years older, with long wavy hair and a loose dress; and at the same time, a version of her that's about 5 years old. I realize that she became younger while she stayed in that place on the other side of the portal, and if she'd stayed longer she would have reverted to that 5 year old image.
    8. Yeo Wool and Kang Chi, repeatedly

      by , 07-11-2014 at 06:55 PM
      As Kang Chi in modern times, I meet Yeo Wool. She remembers me. We're both shocked. I have a false awakening in which I try to tell IRL friend S. about that dream, and then go on to a few IRL-based scenes - trying to find a place to park in NYC, and trying to form words out of a jumble of letters.

      (Woke up. Back to sleep.)

      In the past. Kang Chi and Yeo Wool are meeting up in this hut in the mountains outside of town. They have to separate, and they're being very loudly upset about it. It's just before dawn, and as a 3rd person observer, I'm thinking they must be waking people up in town, they're so loud.

      Kang Chi's lying on his back in that town at night, looking up at the full moon. It looks massive, taking up most of my field of vision. He's meant to be meeting Yeo Wool soon and traveling somewhere together, but he's convinced himself she won't come anyway - there's something that's happened between them or something she's involved in that's on his mind, but he's not thinking about it directly. He's talking to himself out loud, convincing himself that she won't come and he should just leave on his own.

      (Woke up. Back to sleep.)

      Kang Chi's delirious, standing outside somewhere on the edge of that same town and calling for someone he calls brother - not a literal brother. Yeo Wool's trying to get him to move, but as he starts talking like this, she remembers a time in the past when they were in trouble in this same place and Wol Ryung had helped them. He and Kang Chi had called each other brother sometimes - it's partially a reference to being the same species, and partially acknowledging each other as close while sidestepping the complicated family issue. So she realizes that, delirious, Kang Chi's calling Wol Ryung for help. Wol Ryung's dead.

      Kang Chi and Yeo Wool are traveling together in a very distant place. Yeo Wool's wearing modern clothes - no one else is. They're surrounded by soldiers carrying spears and a froglike nobleman on horseback - not a human being. The two of them raise daggers to their own throats, threatening to kill themselves rather than let the froglike man capture them alive.

      As Kang Chi, I'm outside and looking through a window at Yeo Wool. There's a luna moth on the window.

      And then two IRL-based scenes - catching and releasing an insect, and a visit from an IRL sister's friend.

      (Woke up. Back to sleep.)

      In modern times, Kang Chi's at a studio where they're filming a movie or a show, and a woman is talking to him, sounding very irritated. Without naming any names, she makes it clear there's been rumors going around about someone who works here being viewed as violent, potentially dangerous. Kang Chi's thinking this is about Yeo Wool - she's recently become nonhuman, and the adjustment period can be rough. Which makes this his responsibility. Without specifically naming names, Kang Chi tries to get the woman to confirm that it's Yeo Wool she's talking about. But Yeo Wool's just appeared at the end of the hall, and the woman says to ask her himself and stalks off.

      And then an IRL-based scene involving studying Agamemnon.
    9. Glitch, foxfire, Satan, Judas

      by , 06-07-2014 at 06:32 PM
      I'm lying on the ground next to the road beside the IRL swamp near where I grew up. Down the road, a truck reaches the peak of a small hill and then seems to continue rising into the air until it disappears into the sky. I think that's odd and that it must be some odd optical illusion, and I watch to see if it happens again so I can figure out what's causing the illusion. I turn to comment on this to my IRL sister, S.

      But I'm distracted when I catch sight of a ball of blue flame hovering nearby in the swamp. I think of this as foxfire. It happens sometimes. I'm thinking about how foxfire works, and how it's usually safe, with some exceptions. The foxfire then turns from blue to the usual red/orange fire in reaction to our presence - that's the exception I was just thinking about. It approaches us, and we have to run to avoid getting burned.

      When we get inside, we're no longer me and S., we're two young brothers. I, the older brother, realize that the foxfire's too close behind us, and so when my brother escapes into the inner room, I close the door behind him, allowing the fire to catch me but keeping him safe. When the foxfire catches me, it takes on my form, so that for a moment there are two of us.

      Fragmentary memory for a bit. Next clear scene - I'm Satan, using that older brother's form and talking to the younger brother. The kid's fully aware that I'm not his real brother. I've just now been able to return to earth after being sealed away for a long time, and I'm curious about all the new things here. I'm looking at an instrument in the kid's room; I'm mentally comparing it to a harp, but it's a stringed instrument that lies flat on the ground when you play it, like a koto. It's something kids are required to learn in school, so the kid's not very interested in it, but I fiddle around with it until I get the hang of it - it really is a lot like a harp, just turned on its side - and I improvise a pretty little tune. I'm vaguely hoping the kid will get the idea that the instrument can be used for more than just the dull melodies he learns in school, but he doesn't seem interested - it's a dull instrument to him, and that is that. I then go and look through his movies, picking up one written in a pictographic alphabet - birds, reeds. I recognize it as Arabic, and I'm delighted by the changes in this form of writing since I've been gone. The movie involves the issue of unity and diversity - people questioning whether it's better to preserve the cultures of individual tribes or to think of themselves as a single nation, and whether it's possible to do both.

      (Woke up. Back to sleep.)

      There's a small fishing village. As a disembodied observer, I'm thinking of everyone here as an analogue for someone else in the distant past or another world or something along those lines. There are two in particular who I think of as analogues for "the prince" and "the Judas figure." At the moment, the prince's girlfriend (who doesn't appear to have an analogue, or at least I wasn't thinking about one for her) is talking to the Judas figure, trying to convince him to give her a ride somewhere, but not wanting to tell him why she needs that ride - the prince is involved somehow. She names somewhere else nearby as her destination instead, but he's not fooled at all. He suggests she just tell him where she really wants to go, it'll save time for both of them. As he's saying this, I as a disembodied observer am focusing on a long, thin scar slanting to the right, down the back of the woman's neck.

      False awakening, during which I tried to write down that dream on my skin, for lack of anything else to write on.
    10. Corvo

      by , 04-11-2014 at 03:34 AM
      Shortly after passing a man whose head is a snake, three creatures are presented as things I'm meant to fight. But they seem harmless, and when I walk up to them, they disappear. Past them, I walk into a hidden door set into a tree, and spend some time walking through a series of rooms. The passageway I'm walking through makes a large circle, and when I get back to the start (there were a lot of scene changes along the way, so this "start" wasn't actually the same place as the tree-passage from before), I notice a flight of stairs heading down that I hadn't seen before, with small, glowing blue arrows hovering just above the floor, pointing down.

      The stairs lead down into an enormous room filled with books and a portrait of a man I recognize as someone infamous named Corvo - he's someone I've heard of often, in the context of being a doctor or a researcher or something similar, responsible for some tragedy or some sinister event; but I personally think of him positively, even though I know very little about him - mostly I feel curious. I realize this was his room, and these are his records.

      I'm standing in a city street in Corvo's POV, sort of - I'm aware that this is me going through his records, his reflections on the past. At this moment in time, he'd been disgraced, along with some other man who I'd also heard of, someone who's walking away from him right now. I have some mental connotation between this man and violence but also think of him as a better person than Corvo, someone who dislikes Corvo intensely but works more closely with him than anyone else, I have the impression Corvo somehow forced him or manipulated him into carrying out a lot of dirty work for him. Now Corvo's looking at the open gates to the city, looking at the crowds of people entering, aware that they're unknowingly carrying some danger that others refuse to listen to him about, and feeling powerless. With the knowledge that this is a flashback, he's feeling an incredible amount of pain over this moment in the past and whatever it eventually led to, and I feel that same emotion so intensely that I have a false awakening or something similar and spend it looking for some space to just calm down from that scene.

      Updated 04-11-2014 at 03:43 AM by 64691

      Categories
      non-lucid , false awakening
    11. A window over water

      by , 04-08-2014 at 06:03 PM
      I went semi-lucid during a nightmare - a scene involving IRL characters - and wanted to change the scene in order to get away from the nightmare. I had a false awakening - possibly two, memory's vague on this point - either way, I eventually wound up in my IRL bedroom, lucid (now unsure on whether or not I lost lucidity in between).

      The room's dark, and I'm frustrated, feeling trapped. I've got the impression I'm stuck in some in-between state, not dreaming properly (whatever that means) and not able to wake myself up, and I'm trying to escape this state. I'm thinking about lack of control, and I look at an object in my hand and turn it into a sword, thinking of this as somewhat pointless, and thinking something about the way the dim light affects this. I find myself moving along the ceiling, as if I'm held up there against my will. There are two windows, and I manage to claw my way over to one while avoiding being pulled toward the other. I slide it open and tear out the screen (I was thinking something I can't recall in detail, something about the way the window responds to my actions by opening or not opening due to it being a part of a dream rather than a physical window), and with great effort manage to crawl through the window.

      On the other side, I'm floating over water, surrounded by cliffs and hills covered in snow. It's night. There are wooden buildings and people outside, dressed in clothes from at least a few centuries ago. My perspective is moving, but I'm still partway in the window; when I look behind me, I can see the window hovering in midair. I'm moving toward the town center, and I can hear people talking - not a language I understand, but from some of the words I catch I believe it to be German, or some variant of it. There's some event about to take place, I believe it's something religious, some ritual.

      I enter a building. Memory goes spotty here again, but eventually I wound up speaking with an old woman who gave an impression of beauty and power. To her left was a woman sitting asleep in a throne, dressed in a costume that could have been straight from the LotR movie elves - I specifically compared it to a costume while I was looking at her. I wondered if she was Julia. (It's unusual that it's something I wondered about, as opposed to just knowing.) The old woman was telling me about her plans, including something she was going to discard, and I requested that she give me that thing. She was surprised but amused and granted my request, but afterward I thought of this as a missed opportunity - I became distracted by the thing she gave me, I should have just listened and followed along with her.
    12. Hiding, seeking

      by , 03-18-2014 at 10:50 PM
      Based on F/SN, as Emiya, I've just found myself in a timeline where I'm acting as Servant to the white-haired version of Sakura. I'm thinking that I've been through this type of timeline before, and there are only two ways events play out after this point, neither of which I want to go through again. I'm trying to think up a way to avoid repeating those same patterns, to create a third possibility instead. At the moment, I'm helping Tohsaka climb up into some passageway, to either hide or escape from Sakura.

      (Woke up. Back to sleep.)

      After a series of extremely loosely IRL-based scenes (although I thought of all the locations as IRL-based, the only thing that actually resembled IRL was my own identity), I'm walking into the lobby of a hotel where I'm living, heading for the stairs. I pass a woman working at the front desk, a woman with straight black hair in a bob. Looking at her, I think that she reminds me of the woman who appeared in a shared dream with my IRL sister years back, in which she'd been my sister's roommate. Her hair's longer this time. When I make eye contact with her, I become lucid. I immediately start floating. I remember my intention to try summoning Julia today (usually my most common recurring DC, she hasn't reappeared since my first and last attempt at deliberately summoning her), and I start to do so, but then I change my mind about the method - rather than try to summon directly, it's easier for me to 'summon' by traveling. Since I'm still moving towards the stairs, I decide that Julia is at the top of those stairs. It's a spiral staircase, gold railing, huge, in the center of the room; it reminds me of a pillar and also of DNA. As I focus on it, I become aware that I'm waking up. I can feel the bed against my back, and the image of the staircase has frozen, as if I'm no longer moving. It gives me the impression that it's melting - not the staircase itself, but the visual image, like a filter being applied to a photo. I lose visuals. I spend some time trying to force the dream to reform, and have the feeling I'm getting somewhere, there's a brief sense of something shining in the darkness, but I eventually have to admit that I'm now too awake for this.

      Except it's a false awakening. I spend some time in that same hotel lobby, looking through my backpack, trying to find a pen with which to write down that dream, before waking up for real.
    13. Looking for elves in underhill

      by , 03-01-2014 at 09:58 PM
      As Louis, I'm standing next to Lestat and looking down into the hold of a ship. It seems very dark, and I'm remembering a previous incident where he left me trapped somewhere. I tell him, "I've learned," and we're not going to go through that again. He acts exasperated, like I'm being ridiculous, and of course he wouldn't do that to me again, that was centuries ago, don't be so paranoid.

      (Woke up. Back to sleep.)

      After trouble trying to talk to my IRL father on the phone - I couldn't hear him clearly, but I also couldn't make the phone disconnect - I'm now meeting him at some event. I'm trying to save four or five seats, but that causes trouble with the people next to me; I get the seats I wanted, but the group of teenage guys sitting next to us are annoyed with me now. The one right next to me puts his feet up on the row of seats in front of us at an angle, crowding into my space, until he's practically in my lap. I call him a gay slur, then immediately wonder why I said that; meanwhile, he backs off and looks hurt. One of the other guys with him starts getting into my face, and at one point he suggests that maybe everyone here is dead - "I'm dead, you're dead, we're all dead," in a sing-song tone. I say to him, sure. Land of the dead, dreams, Underhill, it's all the same thing. Everyone around me has a rather unpleasant look on their face after that, and I think it's because I mentioned that this is a dream; then I think that this only happened because I picked up that expectation from other lucid dreamers. In any case, I get up and walk out of the room into the hall.

      Thinking about that Underhill reference, I think it's important that I find elves - they're much preferable to the people who think they're dead - and I look for a door, but this building is built on an open sort of plan, with rooms opening onto each other at strange angles, not easy for me to control. I eventually come around to the back of the building and walk out a door, trying to use the door as a portal and thinking about elves, but feeling like I had only limited success. The door opens onto a stable, and there's a car parked here, and a woman in a ballgown getting into the car with a man who's wearing a uniform indicating he works here. On a closer look, he looks rather elfish. I think about hitching a ride.


      Bit of a fragmented memory after that - I don't wind up getting into the car, but me and that guy walked out of that stable and into the woods, where we had some encounter with someone else. False awakening after that: waking up in an unfamiliar bedroom, I get my journal out of my backpack beside the bed and start writing down a dream about a (nonexistent) vampire movie involving that woman in the ballgown; as I was writing I believed it to be based on a real movie.

      Updated 03-01-2014 at 10:04 PM by 64691

      Categories
      lucid , non-lucid , false awakening
    14. 'He's not going to forget' and missing pages

      by , 02-19-2014 at 10:49 PM
      Various non-lucid scenes: two immortals discussing faith and religion while rummaging around one's kitchen; the owner of the kitchen and her mother are both christian, and I'm surprised and intrigued since I hadn't found that to be very compatible with physical immortality. Rose and Martha meeting all the past incarnations of the Doctor in the TARDIS. There's some fantastical mystery involving spirits, and I was tasked with demonstrating the rational, physical origins of the events - the drama with the spirits is still considered real, but as a sort of reflection of the physical world, not actually physically present there - however, now that I believe it's all been solved and wrapped up, I'm asked a series of questions that force me to go through and reevaluate all my conclusions, suggesting there may be another answer. IWTV references, thinking about Lestat's life-has-no-more-meaning-what-if-i-could-give-you-a-new-life speech, resulting in a bit of an IWTV-themed power trip. That ended in an unpleasant party, which I left and returned to my IRL home.

      In my home, looking out the window I've noticed various construction or roadwork or similar workers out in the street, and one of them's walking up the driveway. I move away from the windows since I need to go put some proper clothes on, but before I can do anything more than that I hear two of them inside the house, just in the next room. I'm aware that when I deliberately moved away from the windows, they'd mistakenly believed there was no one home and came inside. So I step into sight now and ask them wtf. They're surprised to see someone home. They talk briefly to each other. One of them says, "He's not going to forget. How do you want to do this?" After that, the two of them raise tools as if they're weapons - one of them's holding a hammer, the other a mallet - and although I'm aware this is a dream (I'm thinking as if I knew it all along but felt no need to act on that knowledge before now), I have difficulty defeating them or removing them. In that case, I decide to summon up something to remove them for me - I think of a dragon. One doesn't appear, but instead, as a direct result of that thought, I have a feeling that I think of as "a part of me that hasn't been fed," and with a voice much deeper than my own I say "Get the fuck out of my home," after which I see fire. Then I'm looking at the fire from a distance - I'm somewhere outside, and neither the burning cottage I'm looking at nor the scenery has any resemblance to my IRL home, I've completely changed scenes. Despite this, I believe that I've succeeded in removing those two from the house and feel satisfied.

      False awakening. I'm in a bed - not one I'm familiar with IRL, though I believed it was in a relative's house - and I reach for my dream journal. I can't find an empty page to write in, and I realize this is an old journal, one I'd already filled up. A few pages have been torn out.
    15. Fractal house and lucid mirror

      by , 01-26-2014 at 12:24 AM
      I'm in a house which contains a dollhouse which is an exact model of the house, even containing a miniature version of the dollhouse itself, which in turn is a perfect model with its own miniature dollhouse inside, and so on; the dream camera zooms in through what seems to be an infinite series of nested houses, and I say "It's recursive."

      Inside one of these levels of houses, I can hear a woman's voice singing, not a recording or anything professional, it's the way someone might sing to themselves around the house, going "la la la" instead of words. I'm in a hall, passing by a woman's bedroom where there are a few cardboard boxes open on the floor, one with old Victorian clothes spilling out, and a mirror in a gold frame. The mirror catches my attention and I go lucid. I'd been thinking earlier (while awake) that mirrors are often linked with magic and summoning in my dreams and I'd intended to try using that deliberately the next time I had a lucid dream, so I look at this one now and try to summon Julia, who I'd expect to be the easiest character for my mind to summon. After a moment I see a woman moving in the mirror in the distance, too far away to see much, but it's not Julia. I start to try again with a slightly different approach, but then think that I'm a little too close to waking up for this. I lose visuals.

      I 'wake up' in bed and reach for a pen to jot this down, but I drop it and have to get out of bed to look for it. I'm irritated by this, thinking I'm going to forget the dream - then I wake up again.
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