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I started questioning the dream in a fairly dull IRL-based scene, and then questioned why I was questioning it - but I did eventually become lucid. Once becoming lucid, however, I as Jaime immediately started looking for Cersei.

(Side note: this was an interesting level of lucidity. Fully lucid in most respects - lucid about the fact that I was dreaming, lucid about my ability to control the dream, no desire to stick to the previous dream storyline - but I wasn't lucid about my own identity. On top of that, I only started playing Jaime's role when I became lucid - up until that point I'd been my IRL self. It's standard for me to play the role of other people when I'm non-lucid, but I'd thought that conflicted with lucidity - apparently not.)

I was still in a room that was meant to represent my IRL home, but it had no doors, which I understood signified a resistance against me taking control and changing the scene. I had the feeling I had to get out in a hurry if I wanted to maintain lucidity. So I turned around in a full circle in order to create a door that would be there when I turned around again. It was a wooden door, rounded at the top, and when I opened it I saw a scene that was meant to represent my IRL neighborhood.

I closed the door, called out to Cersei, and opened it again, understanding that this will have changed the location it links to. Now on the other side of the door there's a dark stone enclosed walkway with large windows overlooking a castle courtyard. Better, but this isn't the place I was looking for. I have a mental image of a glittering gold-and-white castle that I want to get to, where I expect Cersei to be. I try again - I close the door, call to Cersei, and open it again. The scene on the other side of the door hasn't changed this time - it's still the dark stone walkway. I decide that this means Cersei must be in this scene somewhere, so I walk through the door.

Recall gets increasingly shaky after this. After walking through the castle a bit I found Cersei in the courtyard, and after a short conversation she took me to a rowboat that we'd both have to row - she gave me some explanation involving the word 'knowledge,' and I made an (apparently less than successful) effort to remember her phrasing so I'd recall it after I woke up, it seemed symbolically important. The boat carried us briefly along a waterway running through the castle, and I think I began losing lucidity at this point. There's a memory gap, and very little recall after that - before I woke up I'd wound up back in an IRL-based scene, and I'm unsure how much lucidity I had by then.

ASOIAF-based. Jaime's face is covered in burn scars on one side, recently healed; Cersei's pale and has something wrong with her skin, grey spiderweb patterns in small patches on the sides of her face, wearing widow's black with a high collar. Jaime's sitting down next to his uncle - whose face is also scarred, on the opposite side from Jaime, from a cut from a weapon that left a permanent hole through his cheek - and he's saying "Look at us. Three grotesques." He's not including his uncle in that; he means the three siblings, specifically in their role as Tywin's heirs.

He folds his hands on his chest, and something strikes me as odd about this; I focus on his fingers and feel like there's too many of them. (For reasons that were obvious once I woke up.) He says, "We remember (name of some famous military tactician)" - and then says some quote relevant to their current situation; as a disembodied observer, I'm less interested in the quote and more interested in why Jaime's saying it. I'm thinking that this time period, immediately after all three Lannister siblings had become disfigured, ended up being when they really started to come into their own; that Jaime specifically became serious about various responsibilities that he'd had little interest in up until now, became more philosophical, and wound up distinguishing himself as a tactician.

Jaime's still talking - he's just mentioned a prophecy which includes a mention of monogamy, and he sneers at the reference, and says something along the lines of 'if only I could get me a good prybar' - he's stuck in an engagement he desperately wishes he could get out of, but which he's resigned to.

I'm leaning against a wooden fence, wearing a heavy fur coat and digging a bullet out of my side with my fingers, blood all over my hands. It can't kill me, but it's unpleasant. I'm saying to someone, "Wish you hadn't come." Didn't want them to see this.

(Woke up. Back to sleep.)

Fragments: A photo of a small island containing 6 towers arranged in a hexagon, with a wall around them so that they can't be seen from the water; the photo's accompanied by a note mentioning Florida and Puerto Rico. A girl with a shapeshifter for a brother. The word supranatural. Song lyrics: "Feed on the sickness." Dialogue: "You're familiar. I'm just glad to see familiar-"

Five teenagers heading to an abandoned playground; three of them are aliens in human form, and they need to go somewhere isolated to temporarily drop the disguise. The other two are humans, their girlfriends, in on the secret. One of them has seen this before, but for the other, Laurie, this is new; although she knew her guy was alien, actually seeing it is a shock. She sits down on a bench attached to a picnic table, and she's thinking about when she slept with him. The other girl, the one who's seen this before, is watching her and feeling sympathetic. The boyfriend comes back over to her and asks what's the matter, except English isn't really compatible with his mouth in this form - he's something vaguely like a very large spider - so "What's the matter, Laurie?" sounds more like "Wassama'ar? Lau-rie?" The other girl comes over and puts her hands on Laurie's shoulders.

Rumpelstiltskin/Gold has a daughter. She's building a snowman in a park with her mother, along with a large group of other parents and children doing the same thing; Gold's not there, but he's using magic to talk with her from a distance, now and then. She's named her snowman Lefty. It has 3 left arms, one of them with a hook. But while she's not paying attention, one of the other mothers breaks Lefty and uses it as materials for her own kid's snowman. This doesn't come as a surprise. Gold's daughter isn't treated well in this town, she's always ostracized. Gold, hearing about this, starts to encourage her to (do something I no longer remember.)

While he's encouraging her, Rumpelstiltskin has a flashback: in his castle, with Regina in full Evil Queen mode. He's ranting about some Council which he blames for manipulating him into becoming the 'evil creature' he is today, and which he's now turning against. The rant has a reap-what-you-sow kind of theme. Regina had been on that Council up until very recently and is encouraging him in this; she's the one who informed him how he's been played.

3rd person. A military camp at night, raining hard, ground's mostly mud, the dogs and eagles used for running messages are having a rough time of it - at which point the dream switches to 1st person. I'm standing outside the dream, watching it, complaining to a woman with me about the use of animal messengers. "These people can create magic doorways linking one place to another, why are they still using messengers? Why do they even have supply lines?" She tries to say it's probably just shorthand, but I'm not impressed by this excuse. It annoys me that magic is only being used for flashy combat techniques and such when it could be put to so much better logistic use, it's a complete waste of manpower.

The next ASOIAF book comes out, and I skim the first few chapters and find a pleasant surprise: another Melisandre POV chapter. I settle in to read.

3rd person, following a woman who works at a newsstand that former president Bush II used to walk past every day as part of his routine, a long time ago. Now he's here with a bandage around his head, blood showing through, looking dazed. This happens twice. Both times he's found and picked up by his own security, but the woman is thinking to herself he 'looks the way he did in 2004,' meaning on the verge of death. The second time this happens he nearly walks into traffic, looking as if this isn't something he wants to do but is unable to stop himself. Unable to think straight, his mind is following an old routine.

A woman took me back to her home and left me to sleep, and now I'm hiding behind a door and watching her tend to a crying man, seeming to comfort him. In actuality, the scarf she wears around her hair is soaked in tears; this is how the witch feeds.

(Woke up with comparisons to Circe on my mind for that last one. Back to sleep.)

3rd person following a couple who meet for lunch every day, sitting at the outdoor tables of a cafe in a major city. He's a writer, and she used to read his stories during her breaks and tell him what she thought at lunch, but with this most recent book she finds she's got less and less time for it and finds herself making excuses: "I had a few moments in class, but..." He dislikes that she seems to feel obligated to read it, and tries to tell her there's no reason she should be spending all her free time on his writing, but when he says this out loud it just sounds like they're drifting apart. He gives her a peck on the cheek as they stand up from the table, and as he leaves he passes two women bending their heads together for a kiss.

I'm running some kind of transdimensional superhero team (though everyone here's wearing suits and ties, thank god, or casual clothes in Banner's case; no spandex in sight), and we've just encountered this reality's version of Superman, a version who grew up not on Earth but as the only living creature on a dead planet, raised by recordings, never understanding what had happened to everybody else.

False awakening where I was thinking about what a great dream I'd just had and that I'd have to remember it - I then forgot it, except that it involved a demon, humanoid, sitting at a desk, wearing a scarf and hat and heavy coat to disguise his features, although his scarf's lowered so his clearly-not-human face is visible right now, rather amiable.

Dream continued from that false awakening with a trying-to-accomplish-a-simple-task-but-things-keep-going-wrong storyline, mostly in IRL settings - first about trying to record that demon dream, then briefly about trying to get some work done, then about me and my IRL father trying to meet up.

Trying to make some deal with Tywin regarding one of the men working under me, I'm seeing Tywin and Joffrey in the same place for the first time since Joffrey was an infant, and looking at them together, I'm trying to see some sign in Joffrey that he's inherited anything of his grandfather's character. There's nothing in common, except that in this light, they both have a sickly green cast to their skin.

I've been blamed for a crime I didn't commit, and if I'm going to avoid being staked, I have to find something before dawn. I thought I knew where it was, but I was wrong. Dawn has come -

- but I've managed to buy myself a little extra time. Same setting, new backstory: this is all a game. Someone on the staff by the entrance, without realizing it, let slip the location of my final goal. But in order to reach that goal, I need an intermediate piece of the puzzle, a Bible. I find it - it's not an actual Bible but a book of many different passages, one of which looks like a Bible quote, and a few words are written in red, reminding me of one of St. Germain's codes. It's in Swedish. I head back to my room to translate it, but I lose the passage and can't find it again, and flipping through the pages, I find -

- a family tree representing the Baratheon family with stag symbolism, with a crown for Joffrey. I'm Jaime, sitting in a pit of a jail cell as I turn the pages, with the Starks looking down on me, and one of them suggests in an almost sympathetic tone that I've lived long enough. So many days down, so many more to go.

3rd person. Kimahri's become a leader of his people, but he's having trouble. There's someone who's not considered very trustworthy, and he gave this guy a chance to prove himself, letting him broker a deal with an outsider for a very important supply. But there have been delays, and the people are beginning to worry that this guy isn't going to come through for them. They're having something like an informal town meeting, arguing about it, and the guy who brokered the deal is insisting that things will work out if they just wait.

1st person, I've struck a deal with someone whose face I never saw, only heard his voice. He sends me to sow something he designed in the cracks of the border between two countries. Greenery grows from the cracks and spreads into the neighboring countries, and it looks beautiful, peaceful, so no one will recognize it as a threat until it's too late. I see the landscape as if on a map, watching the borders shift in a chain reaction, watching control of land flip from one country to another, sending ripples through the ground under my feet, and I can hear that guy who designed all this, now telling me to watch, to learn how this works and to use it myself, but I already know how it works and all I want is to get as far away from the shifting borders as I can. When I get far enough from the conflict to get a clear look around, I can see the country I sabotaged is now completely surrounded, about to be destroyed. I head north, as far as I can get.

3rd person. Sansa Stark's come back to the north, as far north as it's possible to go before the Wall, and she's sneaking into a hidden tunnel leading to a tomb. She pays her respects and then leaves the tomb to wait in the tunnels, and one by one her brothers arrive - first Rob, then Jon Snow, then Bran (who is walking, and was never crippled in the first place). They're all glad to see each other of course, but Bran's the one they've been waiting for, the one who made a deal with the demon Cassux on behalf of their family. (Cassux - when I wrote this down it struck me that's probably a contraction of Castor and Pollux.)

Scene changes to a flashback: the recently orphaned Stark children 'captured' Tyrion (he probably could have left at any time if he'd cared to make the effort) and 'interrogated' him (nothing unpleasant, more of a casual conversation really). He's wearing a lion-fur cloak, and he's saying, "not such a bad thing, the Old Ways, not having to work so hard for everything." During a time of desperation for the Lannisters, he'd discovered the demon Cassux in his books and made a deal on his family's behalf, and because of that, everything in Westeros has changed.