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Fragment involving Ben Affleck and people complaining about a Fantastic Four movie.

(Woke up. Back to sleep.)

X-Men fragment involving Erik and Charles (as played by McKellan and Stewart) having an argument about something involving a young man, a mutant who lives with them; one of them leaves with the young man. Scene changes so that this is a movie I'm watching, I'm explaining to someone who just came in that this was the last time they saw each other for 9 years. On screen, it's now some kind of opening credits for the Avengers showing various backstories, some actual Avengers characters (Loki, Banner, "Hawkguy", deliberately misspelled - nothing for Iron Man though he shows up later for the fight sequence), mostly characters made up for the dream, one guy with a Buddhist hell motif, leading into a fight sequence in New York, complete with a very dramatic soundtrack featuring classical singers.

Scene changes, ditches the TV framing. Dream's now following a man in a suit who's standing on a New York street, looking up at the Avengers flying around fighting each other, when this woman says to him, "But do they care a touch for the wedding of the moor folk?" Moor here meaning the type of land, moor folk meaning faerie folk. They hold each other's gaze for a moment, she grins, he laughs, low and strange. She continues, "You weren't thinking, were you?" She's a red-haired woman with an Irish accent, wearing a veil, though the wedding she mentioned isn't hers, and looking very out of place on the streets of New York with a bunch of flying lunatics duking it out in the background.

(Woke up. Reflected that this was obviously inspired by a conversation yesterday, about the spin-off show starting today and how I still haven't gotten around to seeing the Avengers movie, and how that must have made me subconsciously remember the X-men movie that I also haven't gotten around to seeing - completely forgetting at the time about the Affleck dream which seems to have actually kickstarted this whole superhero thing. Although I haven't seen the latest Batman either, so I guess that still fits the theme. Anyway - decided to finally get around to watching that movie before the spin-off airs, went back to sleep, and making that decision seemed to do the trick, no more superhero dreams tonight.)

Fragment involving driving to the beach with IRL acquaintances and seeing Iolaus on the side of the road, looking out over a river.

False awakening - don't remember the actual waking up part, but I was in my IRL home talking about the previous dream scene as a dream, and went on to talk about skinny dipping and Xena (separate topics). Over-steeped the tea while I was talking and went to toss it out, outside.

Outside I'm on a city street, and the trash can I use is right in front of a bookshop. Looking over the books in the window display, I start thinking about idolizing people and forgetting that they're only human, and eventually seeing their flaws and feeling let down, although you're the one who put them on a pedestal in the first place. Thinking about viewing the work and the writer separately as a balancing act, being able to see a writer's flaws as a person and to love their stories without the one contradicting the other. And the flip side of that, thinking about the stress on people who are idolized.

As I walk back to my apartment, I pass a cafe where a writer I know (a DC, no resemblance to any IRL writers I'm aware of) is sitting at a table with two women young enough to be his daughters or granddaughters. I stop to talk, and I say to him something along the lines of, yeah, you're idolized and you're only human, but the way you use your young, impressionable groupies is seriously creepy. One of the women gets up and leaves. The other stays.

But when I'm back in my apartment (which no longer bears any resemblance to IRL) and making a fresh cup of tea, I turn around and find that the woman who'd stayed is now sitting in my kitchen. I offer her a cup, she says no. She tells me haltingly that she's thinking about getting a job to support herself - maybe working for a political campaign, maybe going back to college, getting a degree and working in publishing - instead of relying on her writing.

A newly-made vampire is sitting in a car parked in a garage early in the morning, and is refusing to get out of the car because he's afraid of the patches of sunlight in the garage, he's sure he won't be able to avoid touching them. He's a full-grown man, blonde, bearded, looks Scandinavian in ancestry. The driver, his maker, a dark-haired woman, is calling him a big baby and telling him he'll just have to take his chances.

(Woke up. Back to sleep.)

IRL friend S. is working with a theater company connected to a shop, which stocks videos of their shows although those videos are out of the way and most customers don't realize the shop and the theater company are connected. They're talking about having to close down (not sure if this refers to the theater company or the shop or both).

A traveling woman reporter is commenting on some serial killer with an MO related to books, and observing that his trail coincidentally matches up with her travel patterns, she's joking about being suspected herself.

A man and his daughter in a forest, the man had some oath with a bird, representative of the forest, and now there's a deer leg wrapped in parcel paper lying on the ground by their camp, violating that oath. He didn't kill or butcher the deer, that was someone else, but the parcel paper was his, borrowed, and this is going to lead to misunderstanding and enmity between him and the bird. The man and his daughter are leaving, she's objecting because it's not their fault but he insists that they don't argue, just go.

I'm in my IRL mother's home, and ranting to her about that previous scene, which is now thought of as a Bible story. I'm opposed to its message - the final moral and point of the story is different, but this scene here, designating man as something separate from nature, is something I'm deeply frustrated by and I don't care that it's not the focus, I consider it irresponsible storytelling.

My mother's deeply religious Christian IRL neighbor is visiting her with his two sons (the neighbor does have two sons IRL, but these two DCs bear no resemblance to them). Although he's not offended, he says that I should focus on the main message of the story instead. I had no intention of starting a religious debate and am happy to let the subject drop. His youngest son, on the other hand, has gotten angry and wants to prove the point to me. I find fanaticism attractive on him. I'm aware he's both attracted to and deeply uncomfortable with me, thoughts about queer issues and gender issues on my mind. He comes to the window where I've been standing and lifts a rock outside and throws it into a tree. (With his mind, apparently - there was some awareness that this was dream logic, and that if we'd been outside he would have just used his hands.)

The conversation moves on to safer topics but I pull him aside, ask him what that was meant to prove. We go outside so he can finish making his point. He leads me over to his father's yard and shows me a hedge covered in red berries concealing a small tunnel leading underground. He seems afraid, but he says he's determined to make me a believer. He's so worked up about this I don't have the heart to tell him I'm already a believer, just not his variety of believer - this isn't the atheism-vs-theism debate he thinks it is - but that's all right. I'm still thinking about queer/gender issues when I get into the tunnel ahead of him.

In the tunnel, I'm a girl (who, in the dream, I thought of as resembling the oldest Narnia girl - she doesn't particularly, but this scene reminds me of 80's fantasy movies in general) crawling on my hands and knees, while the boy with me is sitting on the grass outside, worrying. The dream 'camera' briefly switches to 3rd person, allowing me to see the boy, myself, and just around a bend in the tunnel, a door, open just a crack, showing a dimly lit room with a woman dancing inside, the Queen, and it's the inhumanly beautiful Queen I want to get a glimpse of, although the boy is convinced this is a bad idea. Back to 1st person, I reach the door, peer through and see an image as if the dream 'camera' has zoomed in, focused on the Queen's lips painted so dark they're nearly black, her throat, her decolletage, and an awareness of ornaments of frozen drops of water or tears, telling myself I must remember every detail of this.

There's either a false awakening or a partial-awakening where I'm lying in bed 'recording' this dream, only to realize that I'm not physically writing anything, after which I actually did wake up and 'continue' writing right where I'd 'left off', the part where the boy threw the rock.

I become fully lucid while doing my Apollo trick, and lose all visuals in the process - I have a sense of having a body, but there's no setting. (The Apollo trick is meant to get me out of nightmares, but I have no memory of any dream scene before this, except the thought that I 'lost' visuals.) I start floating close to the 'ground', although there's no ground, and a setting starts to form: the road outside my IRL home.

Memory gap. Next thing I remember is a non-lucid dream in a different setting, involving accidentally upsetting my IRL sister (my recall for this was quite long and detailed). Woke up at 5:37 AM, less than an hour after getting to bed.

Recall for the rest of the day was terrible. Vague fragments of dreams set in Being Human and Lost Boys, with a possible false awakening after the Being Human one - I don't remember 'waking', but I spent a dream scene trying to describe that previous dream. The only details I managed to remember: as Mitchell, needing a werewolf to briefly hold me down under the surface of a river, and the one I've got on hand doesn't live up to George in any way.

I'm floating in the sea with a small oxygen tank and no other equipment. The water's clear and empty - I'm wishing I could be snorkeling on a reef (unusually, there's no visual image to go with this thought; it was blatantly inspired by this site, though) and thinking about freediving (this thought did have images to go with it). Back on the shore, I get into a hot spring with some IRL acquaintances who are talking about drinking, and about a storm coming.

'Julia' has reshaped herself into 'Jules' and I'm meeting him at a university cafe. He tells me he led a rebellion. They all died. Now he's lost his taste for bloodshed, except in the comfort of our own bed. I tell him he's much better at this than I am - whenever I've tried being female I've wound up overcompensating with strange obsessions for guns or fast cars.

OUAT's Rumpelstiltskin, Belle, and three fairies are sitting around a cramped table discussing storming-the-castle plans, theoretically - but the conversation defaults to the fairies badmouthing him for screwing things up in their absence. Belle leaves to go speak to two people locked up in a dungeon, at least one of whom she'd put there herself after he tried to attack her, and her attitude towards him has an odd lack of awareness of being locked up as a bad thing; she's spent so much time locked up in one way or another herself she sees it as normal.

Setsuna/Alexiel speaking to Sara/Belle, saying that after freeing her from 'beyond the end of time,' why do you think of death.

A vague fragment about the three main characters of Zelda leads into me being told by a girl (presumably representing C., this dream is blatantly inspired by her, I've never played this series) that normally she'd recommend someone start with a different game, but for me, the characters and storyline in this one are perfect. On screen, the villain closely resembles Rothbart. The game so far has been one long cutscene, to the point that my IRL sister watching with us (who presumably appeared because of Rothbart - I associate that movie with both her and C.) is surprised to be told it's a game and not a movie. When I look back to the screen again, it looks like a Disney movie.

PSoH setting, following Leon. He puts out messages searching for D. Meets up with fellow 'searchers' - for various things - some of them more useful, or sane, than others. He's sleeping with one of them, and at the moment sitting up in bed next to her, saying "don't look at me."

A boy who leaves something broken with friends or family and is surprised to find they've fixed it when he returns, he hadn't asked them to do that.

A wrong turn leads to a dirt road, and then to a moss-covered graveyard, where I get out to walk. My IRL sister L. and I find ourselves stuck with a tour group.

Fragment: "So the little girl had a last (something) request."

Buffy setting. Angel has a son (not Connor), and someone is threatening to turn that son into a vampire. The vampire's trying to convince Angel that this would be a good thing - not trying too hard, he intends to do this for Angel's own good whether Angel wants it or not - and Angel's trying to show him why it's a bad idea. He calls out a kid vampire he'd made himself, Angel's holding him by the shoulders and the kid says he died when he was 8, looks older but not by much, and then says "I'm good with math, but facial recognition..." The point is that the brain stops developing before its time.

There were some earlier fragments in that same setting - talking about once-in-a-lifetime perfect happiness vs. just plain everyday happiness, and watching Buffy walking down a sidewalk past a brick wall.

(Woke up. Back to sleep.)

Reading about Josephine Baker, a sister who'd died and a mother she'd admired.

(Woke up. Back to sleep.)

Forever Knight setting. As Nicolas, I'm with some humans in a public place, in a hurry, when just for a moment I spot LaCroix and Janette in the crowd with someone else, a woman either I or Janette turned relatively recently, within the past century or so - I desperately want to be with them. I'd been cut off from them. I can't just abandon my humans here, but I have to at least get a message to them. I make my excuses and head back to where I saw them. (I'd seen them dressed as they did in the 1940s - symbolic for happier times together. Also a connection to a kid vampire, so this dream was probably partially inspired by the Angel one.)

In a hallway. LaCroix was here a moment ago, sitting in a chair at the end of the hall, and I'm looking at a telegram that was on the table next to him. I wonder if that bit about text in dreams changing when you look away is true. I focus on an 8; I look again, and it's a 58; then 8 again, then a Cyrillic н. I guess it's true. (As I was expecting it to change, this seems a bit pointless.) I then resume looking for LaCroix.

I'm riding in a truck with a man who spots a pair of coyotes and stops the truck to shoot them. I knock the gun off target.

With that same man, I'm standing over a pair of bucks who are lying on the ground with several arrows in their sides, suffering because I knocked the killing shot off course.

I'm with someone else, a guy from the city, and watching that man pull into his driveway with the body of a horse in the back of his truck. We're standing in front of his neighbor's house, a chubby, long-haired, middle-aged hippie who is burning something that looks like a sphere of hay the size of a beach ball. The fire spreads to the ground, and then to his neighbor's yard, burning in strange geometric shapes, circles and lines. I start clapping, seeing that man's property on fire. The hippie tells me about a protest he's about to go to, a bunch of people are going to jump off a clocktower, do we want to come? The guy standing with me isn't interested, but I'm up for it.

(Woke up. Back to sleep.)

A man and a woman with accordions warming up for a show in front of a mirror, the man comments on how beautiful the red of his accordion is.

I'm playing a piano duet with that man, and while his part is beautiful to listen to, my part has so little to do that I lose track of where we are and come in late, I play slow and haltingly. I wonder why he doesn't just play the whole piece himself, he could easily play my part with his left hand.

A machete being given to someone as a gift.

My IRL sister S. calls me and describes a place she stopped at as "a Twin Peaks diner." The use of Twin Peaks as an adjective makes no sense to me - what, do they have great pie with a side of prophetic dreams?

Twin Peaks setting, 3rd person, as a disembodied observer I'm looking at the trees along a mountain road, bare of leaves, small and spindly trees, so close together that none of them really had a chance to grow. A jeep comes down the road, driven by the sheriff, with Cooper in the passenger seat. Cooper's talking about how cold it's gotten, and he's pleasantly nervous about his date tonight.

There's an accident of some kind, an earthquake or a landslide, and the jeep gets stuck; the sheriff gets out of the jeep to walk along a footpath into the mountains. Cooper wants to take care of something in the jeep before he follows, something to calm him down before his date. The landslide or whatever it was that trapped the jeep has opened up a second path next to the usual footpath, and as a disembodied observer I think 'You are obviously being invited on a personal quest. Take it.' The sheriff doesn't take it. However, the usual path crumbles beneath his feet, and he lands on the second path anyway. At the moment the footpath crumbles beneath him, so does the road holding up the jeep, and it falls into a crevice with Cooper still inside.

I'm in a maze full of doors that lead to other worlds. The people with me have decided to take a door that leads out onto a snow-covered wasteland, they think this is going to lead them to our ultimate destination, but I have my doubts. I'm sure they're just going to wind up back here with a lot of wasted effort. So I let them go while I stay in the maze. After the door's shut behind them, I open it again, just to get another look, and while I can see them, the dream briefly switches to their perspective, showing that they can't see me or the doorway; our realities are out of sync.

In the maze, I try to take a path roughly in line with the path they're taking through the wasteland, so that we can meet up again when they inevitably wind up back here. I check through doors once in a while to make sure we're still going the same way. But eventually I run across other people in the maze, and I discover people are gravitating towards a set of locked double doors with two keyholes to either side. This is the door my group's been looking for. But we don't have a key, and neither do any of the people clustered around. Hera approaches me in the form of an incredibly tall and slightly muscular woman, with long red hair and a peacock blue dress that clings to her body. She's looking for something too, but not a key, and she asks me why I'm looking for one. I explain to her that like the others I'd joined up with, I'd simply woken up alone in a vast, seemingly empty room, so big I couldn't see the walls or the ceiling, and eventually I'd worked my way here. As we're talking I realize that she's Roman, not Greek. She tells me she can get me through the door.

As we go through the door I'm starting to focus on how attractive she is, and I hear a warning, something I think of as a quote, about the risk for dealing with gods "to become not ascension but craving." I acknowledge this but decide to go with craving anyway, she's very attractive. On the other side of the door we're in my IRL home. However, although I didn't notice anything odd at the time, once I took her out of the maze setting the DC stopped showing any personality; I carried her to the couch, but when we sat down she disappeared entirely. The dream storyline switched to a visit from my IRL father who starts 'getting the trees ready for winter' which involves ropes and makes me feel lazy for not doing it myself, and a sitcom involving two elderly men teasing their sullen young relative about just ignoring what you don't want to hear.

(Woke up. Felt like those last scenes, my father and the sitcom, were both about me making the wrong decision with Hera. Back to sleep.)

I'm Roman from Hemlock Grove. Olivia's lying on the stairs and I've had a taste of her blood, and it's put me in something of a trance. I'm thinking about the difference between love and lust. Peter knocking at the door snaps me out of it, but I watch Olivia stand up and walk up the stairs before I answer the door. I make tea, though he doesn't want any. He's picked up one of Olivia's shoes off the rack by the door and is fiddling with it, pacing around the kitchen.

Fragments:

I'm a teenage boy who gets into fights too often, trying to explain to a girl the reason why.

I'm in a setting that looks based on the 1800's, getting into my uncle's carriage, although my uncle's surprised I want to come and warns me against it - I lie about the reason I want a ride, saying something about the walking path along the way. He accepts the lie and offers me a bulb of garlic.

A setting based on ancient Rome, I'm looking up at several criminals being punished. This is my fault; I encouraged them to break a rule I thought of as minor, without thinking about what the consequences might be for them. One of them is praying, and a man with me, a foreigner, catches a variation on the word 'august' in the prayer, and he asks me in his own language, "'Augustina' - means honored, right?" He's quite enchanted by the lady Augustina, a mutual acquaintance. The man praying is being offered a deal - 30 years of imprisonment, in other words the rest of his life, but this torture will end. As this is being explained to him, I go to the others being tortured and try to convince them of a better option. Let them break your legs, then wander the world for 7 years, and at the end of this time you will be permitted to return and be forgiven.

Fragments: stumbling across a Forever Knight tie-in novel with 'amber' in the title; and a visit from a people-shy cat who IRL died when I was a kid.

3rd person. Tradition dictates the pharaohs of this dynasty marry on the first day of the new year for symbolic purposes, but his intended bride is tired of waiting. She cuts her leg with a knife and lets the blood run down into the dirt, a ritual attempt to soothe the drought the land is going through with her own life; since she isn't yet royalty, this is all she can do. Her intended husband watches this and decides to break with tradition and hurry the wedding. However, there's an incident where the couple goes on a voyage with their servants and attendants, and a woman is seen waiting outside at night to meet a lover in secret - it may have been one of the servant girls, but a rumor starts that it was the intended queen.

(Woke up. Back to sleep.)

I'm a student in a small class of maybe 10 undergrads, taught by Mr. G., a favorite IRL high school teacher, in a room based on the chapel building at that high school. We're giving presentations, and as I go back to my seat afterwards, I manage to knock over the display that holds up the TV monitor. I catch it and try to put it back to rights while the next person is talking but fail miserably, I think I broke something. One of the other students comes to help, this short geeky guy who does something very complex with the display, and I just stand back to watch. Turns out he's really, really good with his hands, I'm kind of into it. That was unexpected. I start talking to him and he mentions that he's got some hobby that involves building things, which seems pretty cool to me since I'm pretty much useless at anything practical, but he looks like I'm making him nervous so I back off.

But when the scene changes to show me back at my apartment (doesn't resemble anywhere I've lived IRL - colorful and cluttered, deep blue walls, hanging plants and vines in every corner), he's come along with me and my friends, or roommates, I don't know who these DCs are meant to be but we're close. As we walk in the door, the short/geeky/unexpectedly hot DC is saying to one of them, this blonde girl with all these little braids in her hair, "You're not on the drain, are you?" which is apparently some kind of drug. "I would never," she says, acting all offended - waking me can't tell if she's serious or not, either way dream me thinks it's funny. We came back here to get high anyway.

(Woke up. Back to sleep.)

I'd been flying down through the levels of some mansion and heading outside, planning my night, weighing the appeal of being alone vs being seen, but when I fly out the door, True Blood's Ginger is at the gate. She wants to come back to work at the club. She'd taken maternity leave but lost the kid, and tried to come back to the club pretty much immediately afterward, but the boss told her to take the paid time off anyway - I don't know why she's so desperate to come back, she doesn't work for tips so the money's the same. But she convinces me to let her in, and she tells me where to find the key to the gate. I go get it, but it's got some kind of trap - when I uncover the key, a dart shoots out and hits Ginger.

Flashback. First time I'd met Ginger, she'd been hysterical, claiming someone, a priest, had been kidnapped by these two guys I knew well and was being held in their barn. The guys tell me the priest was there, but perfectly fine. Giving a sermon, in fact.

(Woke up. Back to sleep.)

3rd person, following Julia. She's waiting by a statue at the gate to a city park, sometime around the turn of the 19th/20th century, and she works in a country estate as a maid or a nanny or a governess or something - anyway, she's just come into the city for the day. She's meant to be meeting one of the other servants there, but the woman she's meeting is late. Julia doesn't really mind, it's helped her make a decision actually. She's been thinking about how much fun she had on an earlier outing with me, just watching (??? something involving birds, seemed like a very ordinary everyday event for most people but something she hadn't done before), and thinking about the drab grey dress she's wearing, and always wears, covering her ankles, and generally thinking about taking chances and breaking out of her shell and so on. She stops waiting for her friend and, thinking about how much she's got to do and counting up how much money she has with her, she first goes to buy postage and mail a letter she'd already written but hadn't decided whether or not to send until now.

Her thoughts about money derail the storyline - a guy at the door of a restaurant convinces her to step inside and she finds unexpected fees piling up on her.

(Woke up. Back to sleep.)

Just a fragment of dialogue (phone call woke me up): "-chance to take hold. Valerian root," in a male voice, possibly mine.

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'm traveling, and attending this formal dinner. I'm seated next to this older guy who occupies some position I'm very respectful of, something to do with myth and ritual, and he asks me about what my legacy would be. I'm not a native speaker of whatever language we're using but I believe the word he used has a connotation to do with children, so I talk about being an uncle to my IRL sister's kids. (She doesn't actually have any yet.) He and the people around us seem disappointed by that answer - as if it's an acceptable answer to the question, but an indication that I'm not the kind of person they hoped I was. Then, unsure if I'm translating this accurately, I change my answer to "if the stories I tell are remembered." Now he seems much more approving.

Fragments from earlier: Taking a bunch of tourists to see a show claiming to represent old Aztec traditions, stepping back from the show while they watch, and standing next to an ancient Aztec dead man, listening to him mock the show. 3rd person, a magician who traveled and was misinterpreted a certain way by the people he met became known as 'king of kings' (my first waking association with that was Ozymandias).

I'm playing the role of Dean, and I'm tired of listening to the way the demon wearing our father's face is talking about Sammy. The Fallen, the man in the white suit - that's really the way you things see him, isn't it. That's not him. That was never him.

Different time, same character, similar rant about morality and our role in the world. Except this time I seem to have worked myself around to the opposite point, that by trying to destroy monsters we've become monstrous ourselves, and I'm tired and bitter and when I'm done talking Cas says with this look of revelation, "damn, we are evil!" He's laughing, and I agree. "Yeah, Cas. You too." And I shoot him. That's been a long time coming. The guy we'd been hunting down escaped during this, but he's arrested by the cops outside. Julia's tied to the chair where he left her, and I look at her and wonder if we can still separate her from the evil thing possessing her - I think of it as a part of her.

Earlier dreams and fragments: attempting to get to a Halloween event and running into one problem after another, with a few IRL people and places appearing; and a protest or strike at a memorial service.

3rd person following a woman, and I'm aware this scene is about to become a nightmare, something involving a husband who came back from outer space wrong, carrying something inside him that will manifest in the house in strange ways, killing him and trapping her here. It's already starting to feel like a nightmare, so I take over and steer her toward the front door to change the scene. It takes two doors to leave the nightmare/house.

Outside, I'm my IRL self, and I'm walking out of the mansion I'm temporarily staying at, walking down to the road to see if my IRL sisters have arrived yet. I follow the road toward town, and I pass Tilda Swinton walking the other way and rubberneck shamelessly, walking backwards until she's out of sight. Eventually I come to a fair, where a few people are in costume, including myself, something patriotic-themed. I spot my sisters in the crowd but don't want them to recognize me while I'm in costume. The crowds push me into one of the tents showing various curiosities, and one of them, something about a man who fell from the skies, switches the scene to something more stable.

3rd person following a man who observed that if you trace every human interaction you've had throughout your life, and all the interactions those people had and so on, it creates a fractal pattern which he used to warp time and space around himself, condensing it all into a single point with himself at the center, the God of this world. The ground loops over his head to meet itself in a single vividly-colored sphere. Although he's the only creature that can exist in this sphere, there's a door through which he can watch or enter the old world at any point in time or space. The world's been completely transformed by his actions, all throughout its timeline. At the moment he's observing the writing systems that are developing. He's been translating the various markings that he's seen through the door, images made by different cultures throughout time and space, but as far as he can tell, none of them are using a written alphabet. All the markings translate into numbers.

He walks through the door into the same point in time/space that he'd originally lived, modern times. The place has been through something like an apocalypse as a result of his actions, but it's mostly recovered now. He seeks out a friend who'd tried to stop him, and they talk about the changes in the world, and about what's happened to his older brother's estate since the funeral. 'For a madman, he was alright,' the other man says.