Puffin

Type: Regular dream.
Lucidity: 1 2 3 4 5 6 7 8 9 10
Vividness: 1 2 3 4 5 6 7 8 9 10

Notes:
This dream had multiple segments. I was also a spectator in this dream rather than a participant. My view was similar to that of a cinematic camera with drifting angles and unnatural vantage points. Sometimes I would be looking over characters in a close-up, with the view moving slightly, and sometimes I would be panning across a scene with characters in it, like it was a wide angle shot.

Segment 1

In this first scene, I was underwater. I knew I was in the ocean of Pandora, but the scene felt somewhat enclosed, rather than open which is how an ocean should have felt. The water colour didn't look pristine; instead, it looked slightly muddy. It gave the impression of river water. In this water, there was a towering sea anenome, which must have been dozens of meters high. Encircling the column of the sea anemone were rows of additional sea anemone tentacles that protruded outward. Somehow, they were structurally sound enough to be used as shelves. I remember these "shelves" were covered with items, but I can't remember what they were.

On one of the shelves, there was a lone human body that was lying prone, with its feet against the main column. It appeared to be the human form of Tsireya, a Metkayina clan member, and it was either dead or inactive somehow. Suspended in the water in front of the body, I saw Tsireya in her Na'Vi form. She was very focused on her human body, and she was positioned so her face was fairly close to the head of the other body. She made gentle sweeping motions with her hands from the body's head to her face. As she did, oxygen bubbles formed and grew over the body's head until they collected into a single large bubble, which encapsulated the body's head. She continued to make sweeping motions, and the bubble pulled away from the head and moved toward her own face. Her lips touched it and she appeared to slowly breathe it in, like it was providing oxygen for her. As she inhaled, it became smaller and smaller until it was gone. She seemed to be pulling the oxygen from the inactive body so she could gain its memories and know what happened to it. It felt illicit, like she knew she wasn't supposed to be doing this, but she needed to do it for some personal reason.

Segment 2

The dream skipped to a new scene. I was spectating a simple scene of Jake Sulley in his Avatar body, but he was not grown. Instead, he was only a couple months old. He was standing quietly and looking either at the "camera", or just past it. He was also very large compared to a normal Na'Vi baby, as if the camera had somehow zoomed in on him but not his surroundings. The scene itself was well-lit with daytime lighting. The ground was flat and consisted mainly of dirt and tan-coloured rock, with some low-resolution tufts of grass like from a video game, so he must have been in a forest of sorts.

Segment 3

In this final scene, I was in a small room. The lighting was similar to the scenes in Hell's Gate base from Avatar (2009), which had a misty blue/gray colouration and moody fluorescent lighting, so I imagine this is where we were. There were many unidentified objects cluttering the room, some of them large and providing shadow. The dream "camera" was focused on a nondescript countertop in the room, which had a large white plastic container of some kind on it. The container looked like it was big enough to hold a body, and because of how the lighting scattered within it, there was clearly something in it. Next to the countertop, I saw Colonel Quaritch standing there, leaning against the countertop with one elbow on it. There was someone else in the room talking to Quaritch, but I can't remember who it was, or if the "camera" even showed them. All I remember is that some point, Quaritch made a face and said, "sure, if you insist". There was a sense that it was connected to the first segment with Tsireya, but there was nothing to confirm if Quaritch was antagonistic versus supportive of what she did, or if he was even talking to her in this particular scene.