All DJ Entries

I'm standing in front of a row of elevators with reflective gold-colored doors, and in a sort of voiceover I'm hearing what sounds like an article about a scientific study of reflections. There's a lot of information that sounded reasonable at the time but didn't actually translate to waking life - for example, your eyes perceive this angle of motion and expect an impact that never comes, causing tension, and resulting in your attention focusing on this or that minor detail. As I get into the elevator, the article is saying something about there being two different ways to think of reflections which both carry different benefits, and it goes on to explain the two ways. I find this interesting and decide to experiment with switching to the other way of thinking, which is viewing your reflection as a separate person, even expecting it to talk. Acting on the article's advice, I address my reflection on the mirrored elevator wall. My reflection's a great deal taller than me, and completely covered by a hooded cloak. I find I like him - or it - a great deal.

(Woke up. Back to sleep.)

Some vague fragment involving briefly passing through an exhibit to do with planets, and something about Artemis.

There's a woman who's determined to hold onto the hand of some monstrously deformed figure who keeps trying to shy away. She's thinking about how she's been through some kinds of transformations in the past herself, so it takes more than some monstrous appearance to frighten her off. The monstrous one's thinking something about Cain, and something about two angels, one in favor of allowing the other's creations - humans - to develop variations of themselves (which is to say, to have children); the one who created them was opposed; and now he's found his downfall in a relationship with a human, which wouldn't have happened if it hadn't been for that decision, allowing the humans to develop into new variations.

(Woke up. Back to sleep.)

There's a man who's been running through the halls of a house and now reaches a dead end, a study with a portrait, which I briefly thought was a mirror. A man who's been following him at a walking pace comes into the room and starts talking about the portrait, and about the history of the man in the painting, who was - is? - a vampire. He says, "They forgive him the very thing he (something)," and then something about "fell." Meanwhile the man who'd been running is stumbling around the room with his hand over his stomach like he's been injured, saying "Please!" There's a resemblance between him and the portrait.

Friday: A mountain "full of fog, 'wolves' and 'sheep'", where a woman who'll wind up becoming a historical figure is setting out to show the other side that some of their 'wolves' have deserted and are now helping her guard the 'sheep.'

Today: A guy in space, traveling toward Earth along with many, many other ships in some kind of race, the ship he's in seems made up of many different old parts, pieces are falling off along the way but he seems to have expected that. He's full of rage. There was something to do with lots being drawn, and his younger sister had been one of the winners, which would have meant she was safe and wouldn't have to take her chances in the race with the rest of them, but her parents (from whom he's estranged) had convinced her to give up her slot, that she must live or die and "become ashes" with them, so that they wouldn't be separated in the next life and lose her forever. She told him about this as he was looking over her ship for her, and he found something wrong with it, something that had been sabotaged, that would prevent him from communicating with her after the journey even if they both survived. He fixes it, and is furious.

Still the same storyline - there's a woman somewhere "left behind", the place all the people in the race and the lottery were abandoning. She wakes up with a gun next to her - not hers - and sees someone who says something to her. She, outraged by what he said, says "I don't look like a nice person to you?", and shoots him. Her logic being that if he couldn't recognize a good person when he saw one, he must be a bad person. As she shoots him, her face changes in some subtle way, something to do with her teeth, and I'm aware that in this place, now, people physically change to reflect their actions, and this is part of what the others were escaping from.

A conversation between a man and a woman in a bedroom as she's tying sheets together into a ladder, preparing to escape:
He: "I thought you might have missed it."
She: "Missed what?"
He: "The window."
She: "I can't miss the window. You're my destiny - war."

After an incident with a robot - it appeared human and was programmed to act as a caregiver to a group of four kids, something had gone wrong with it and put the kids in danger. Now someone's complaining to someone else about it - one's in law enforcement, the other's in politics, not sure which one is which. The one listening to the complaint responds, "I believe I oversaw the (something). And (something) to call in some backup." But when she says 'backup', she's not talking about something official. I see an image of two guys, not in any kind of uniform, one's scrawny and one's a little overweight, they have some connection to photography, possibly the press - they're the 'backup' she was referring to.

So I dreamt that I was in the downstairs bathroom shapeshifting myself into stuff. I thought it was real life, so I thought, "AWESOME SHAPESHIFTING CAN'T WAIT TO DO STUFF." Out of habit, I did a reality check. The check itself worked perfectly, but I didn't care because FREAKING SHAPESHIFTING POWERS. So, not conscious enough to prolong the dream, I woke up a few minutes later and was disappointed.

I'm reading a book. In it, the main character is looking at a river and thinking "The mare of time." The river surface usually looks calm, but it's been disturbed due to the ongoing combat. There's a thought that it's only humanocentrism that makes him see the 'calm' river as better/more natural than the 'disturbed' river. There's a reference to a distant place he's been searching for, or came from, or that otherwise has been referenced frequently in the story before now; from this point in the story onward, that place will no longer be a major part of the story. There will be a few minor finds, items from that place, fruits, henna - accompanied by the line "It was a good henna, but not enough to sit in front of the Skillet-mirror" - but the place itself will never appear in the story again, which gives the story as a whole a sort of surreal feeling, with storylines that go nowhere and scenes that don't quite match up, aside from always containing the same main character; a focus on imagery rather than plot. It reminds me of a less surreal Maldoror, or a more surreal Gormenghast, and I start thinking about the surreal in my own writing.

There's a Lost Boys tv show, currently showing the Boys versus some vampire skinheads.

A doctor who is giving up his practice and moving to an isolated island, moving in with the couple he loves. He's talking to his mother (a relatively young woman who insists he refers to her as his sister in public) about his intent to stop practicing medicine. They're standing on a small wooden hanging bridge high over a river, surrounded by tropical plants with broad leaves and looking out over the sea; it's very beautiful.

I'm in a marketplace filled with angry people. They don't like being guarded by off-worlders like us, and we're trying to arrange things so we can get at least half the guard duty covered by their own people. One of our guys in uniform is saying something about how surveys indicate the majority of locals don't mind having some off-worlder presence, and we're trying to find the best solution for everyone here, and more research is going to have to be done. I'm not joining in the discussion, I'm sitting in the dirt at the edge of the marketplace, out of uniform, just listening and watching. There'd been a chance of a riot here, but the danger seems to have passed. Now that things seem to have calmed down, the kid who alerted me to the situation and led me here reaches out and picks up the chips - money - that I left beside me on the ground. I put it there for him, but he seemed unsure if it was really okay for him to take it. When he sees me looking at him, he looks scared and smiles at me; I nod, and he grabs the money and runs off.

Someone with a different face than usual is explaining to a horrified listener that he's learned to shapeshift. The listener asks who he can shapeshift into; the answer is something along the lines of "oh, people I've eaten, people I've physically bonded with, anyone really." The listener wonders, but doesn't ask out loud, what physically bonded means exactly; he's wondering if just seeing someone is enough. "Objects, even." The listener, horrified by all this, asks, "What happens to your personhood?" The shapeshifter says he's removed a piece of himself and keeps it separate in this box, which he's now asking the listener to deliver to his aunt for him for safekeeping. It looks ordinary, and the listener asks if this shouldn't be labeled in some way. The shifter mocks the idea. It's not necessary to know something's significance to keep it safe; often it's the opposite, it's simpler and safer if they don't know.

A pair of time-travelers who've recently reunited are stopping by a football game they've been to before. They kept meaning to get around to changing this one little moment in time, and now they've got the chance. There's a guy who's been meaning to propose to his girlfriend, and they're about to be featured on the big screen; the first time around, neither of them had noticed they were on camera, and something unfortunate happened afterward. This time around, the time-travelers are sitting just behind the couple, and they poke them and draw their attention to the camera. The guy takes the moment to propose, the girl accepts - but they both seem rather awkward and uncomfortable with all the attention.

I've been living in a foreign country, working as a live-in tutor, but this is the end of my last day and I'm about to leave. I'm packing up the last of my things and then head downstairs. Downstairs appears to be the house I grew up in, but I'm thinking to myself that this stuff isn't really here, I'm dreaming, and this is only being used as a convenient background, so there's no need to pack it all. Despite this thought, I don't become very lucid; I just focus on sorting out which things only seem to be here because it's a dream, and which things I actually need to pack.

Julie's patting a big, shaggy old dog, in a room with four guys behind her, talking to her, though I can't make out what's being said. I'm using magic to check in on her from a distance and I don't have a very good connection in this room. She gets up and goes into the corridor, where I can't see her at all, but I recognize the sound of her sister's voice. I realize they're heading outside, which is convenient, there's tons of running water out there I can use. I switch the spell to a bit of water running down the side of the wall, and see that they've gone out into the courtyard and are sitting down on the benches around the fountain - even better. As I move the spell, I remember seeing a post here on DV with a title about learning to control the elements in dreams, which I hadn't read, since thinking of the elements as something you have to learn to use sounded counterproductive. I'm thinking about how helpful water spirits have always been. Again, I don't go lucid; the spell's POV has been moved, and I go back to focusing on the view. They're in the courtyard of a building made of large sand-colored stones, surrounded by potted and hanging plants, and from the fountain I'm looking up at Julie's sister, a woman with long black hair, wearing a black dress. She's saying something about "outlanders."

I'm with a group of people crossing a desert, when a girl - Julia - arrives in our camp on foot. She'd been following us after we left town, refusing to take her with us. She's an English woman, dressed in Victorian clothing; she looks as if she must be very hot in those clothes, but she's kept struggling along. Then a scene change, just a quick image: Julia walking in the desert on foot, while I and a woman sitting behind me are riding a horse, far ahead of her.

A fragment: an image of cities and towers in domes surrounded by wilderness, one of which has been heavily decayed, but which appears to rebuild itself as I'm watching; it's related to the breaking of a Sleeping Beauty-style curse.

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.

A note from an earlier wakeup that I no longer remember: "Rescue mission. 2 people ready to bodily drag this guy away from the queen, not realizing he has his own plan."

I become lucid. (I no longer remember what was happening before this, if anything.) I'm standing at the bottom of a short flight of steps leading up out of a shop, onto a street, and there's two guys I'm with who are heading up the stairs, and if I want to follow the storyline of this dream I should head up those stairs with them. But given that I've just become lucid, I'm not sure the lucidity is stable enough to last through a scene-changing doorway, so I decide to abandon the storyline. I look around the shop instead, looking at the wooden pillars and ceiling, wondering what I'd like to do. There's a guy working the register who's grumbling, in a bad mood, and we start talking. He's attractive.

The scene changes; we're elsewhere, having sex, and I can feel everything I do to him as if it were being done to me. He's aware of the sudden scene change, and he's confused, but up for it. His appearance gradually changes, and I become aware that without consciously deciding to do so, I'm changing him to better suit my tastes; now that I've noticed I'm doing it, I consciously encourage specific changes. Everything I change alters gradually, but then suddenly his whole appearance changes in an instant, now a goth/punk look, pale and with half his head shaved; I hadn't intended to do that. I'm thinking that all the gradual changes I was making must have pushed him to some tipping point, and I'm a little annoyed with myself. He's now becoming distressed; I don't think he's aware that he used to look very different, but he's aware something's off. The dream disappears, and I'm in darkness, no visuals, no body, thinking over what went wrong.

I become aware that I'm lying in bed. (False awakening.) I open my eyes: I'm in a dorm, I think of this as a place associated with dreaming. The room's filled with many bunk beds, reminds me of hostels, and although I should have this room to myself, there are a bunch of people here now, new students who've arrived in the night. I try to go back to sleep, although they're very noisy, and I overhear something about framing someone for something as a joke, and something about cats and bad luck. Eventually I remember that I don't live in a dorm anymore, therefore none of this is real and I don't have to be here, so I get up to leave. One of the students tries to stop me, referencing cats and bad luck again, and I get really, irrationally, over-the-top irritated by this - by the idea of a DC standing in my way and wasting my time. I put my hand around his throat - my hand has long claws as I do so - move him out of my way, and walk out the door. (And then woke up.)

Original journal entry dated Dec. 11, 2002:

I was at school learning to cook spaghetti and I could turn into a tiny blue monkey at will. When I was in human form I wore a sock over my head so nobody could tell who I was. Nobody commented on it because they thought the sock was my real face. So then I was in tiny blue monkey form cross-country skiing on the roof of a minivan and I almost fell off into the wheel-well but my friends rescued me. Oh, yeah, and the minivan could fly. The end.

Not so great recall last night, and what I do remember is a bit vague.

11.17.2013

Transformation (Non-lucid)

NON-DREAM DREAM LUCID

I am on a secret mission that somehow involves stealing a particular item from this girl's bedroom. To accomplish this, I knock on her door and proceed to transform into an adorable black bunny. She comes to the door, squeals in delight, and carries me up to her room. I notice that it feels kind of nice being held while in this form.

In her room, I change shape again. This time, I'm a black cat. A talking black cat. I talk to her and trick her into helping me out with my mission.

11.17.2013

Ghost Hunters (Non-lucid)

NON-DREAM DREAM LUCID

I am with a friend in the lower rooms of an old, creepy building. My friend is hunting a ghost, but I happen to really like the ghost she's trying to get rid of. I turn invisible and screw up my friend's hunt while trying to help the ghost girl get to safety. There is also an evil spirit there that we're all avoiding. The ghost girl is terrified--- she holds my hand the entire time.

Original entry dated March 6, 2002:

I had another one of my weird dreams, I had a dream that I was in Mrs. F's class again and we were in this huge old building evaluating essays, but the essays were all mixed up and impossible to read in order - and she demanded that we write a paragraph on what we thought about each one. The building we were in was very large and very old, but looked kinda like Ringling Museum, and the Fair was going on at the time so there were all kinds of trucks parked outside. That was the relatively normal part of the dream...
In my dream, I could turn into a cat, but I didn't have control over it most of the time. Sometimes I could will myself to do it, but usually not. There was a tom-cat who, if I was around him, I could easily transform myself. Anyway, so I had a son (yes a son) in the dream, and I was trying to save him, only the room he was in was pretty heavily guarded, so I figured that if I could turn into a cat getting in would be easy. Unfortunately, I couldn't will myself to become a cat, so I decided to do it in human form. As I opened the door to the room, several automated guns detected a human form and swiveled on me, I knew that if they began firing they'd kill both of us, so I willed myself harder than ever before to become a cat, and then -

the phone rang.

So I never got to find out what happened...

Fragments: A guy preparing to move on, saying "Can I borrow this map?"; a gallery/cafe belonging to an art group called The Future People or something similar; a runway show based on Sleep No More; a newly-made vampire using mantras to learn dreamwalking, using it to watch over a friend, another vampire, who's being held hostage.

(Woke up. Back to sleep.)

I'm with a group of people stealing some huge metal sphere, but as we're driving off with it, we lose it, and we circle back and argue over where it could be. I catch sight of myself in the rear view mirror and realize one of my front teeth is loose, to the point of falling out. I'm thinking I'm going to have to see a dentist, which annoys me. I notice all the teeth on that side are loose.

I 'wake up' in my IRL home and go to the bathroom mirror to check my teeth after that dream. I spit out long strings of gritty, bloody material, textured like sand. I'm thinking it's good to get that out.

This werewolf kid in human form is sitting in a car, tied up, with blood covering his face. There's a blond girl in the seat behind him who didn't believe his stories about werewolves until just now, as a werewolf in wolf form leans in through the door, right into the kid's face. The girl starts screaming.

I'm dropping off that same werewolf kid at this mansion, and there are three men standing on the steps out front to meet us. I'm saying to them, "Are you all Adrian's?" Adrian's the wolf kid's name, I'm asking if he turned them, which I'm hoping is not the case. And it isn't; they introduce themselves to me, and it turns out the house holds some organization of witches or magicians or something of that variety. They're all very friendly. One of them, this heavyset old queen, mentions that he's single, and I'm amused. When I introduce myself, I add, "And I'd have to be invited in," just so we're all clear.

Fragment of a previous scene involved a boy covered in words and strange designs related to a demon (or demons). Now, elsewhere, his father's poured something over himself which causes his flesh to melt and transform him into the image of a demon. Another man speaking to him says "Why did you do it?" "Because! I wanted to know his pain!" 'Him' referring to his son. The other man says something to the effect that this was a very foolish thing to do.

(Woke up. Back to sleep.)

The words "If you could know, wouldn't you?" and a paramedic getting annoyed at a woman who keeps trying to kill herself.

I'm standing in front of a checkout counter, looking at the rows of rock candy, picking one out and talking about nostalgia with the woman behind the cash register, the vampire who made me. I ask her how far back her memory goes, and she says she still remembers her mother. Talking about some other vampires, we agree that their method is much more sensible than ours, them being able to make more than one vampire, which is something we can't do unless the previous one dies; we can't support more than one at a time.

(Woke up. Back to sleep.)

Something about a 'Lazarus Door' for resurrection, and fog and some kind of danger.

A car that won't turn off. The owner's already taken the key out of the ignition, and for a moment I wonder how it's still running, but then I wonder why I thought keys in the ignition have anything to do with turning a car on or off. We take the car into the woods.

A fragment involving two teenage kids in the woods transitions into a sort of flashback showing the parents of one of those kids, back when they were still alive. They're both some kind of doctors or scientists, the wife has this mass of curly hair, and they're sitting at a table in some kind of office or lab and going over a file acquired by the husband's brother, while he stands across the table from them. The brother is "not like others," which is related to whatever the husband and wife are working on, and he's frustrated by working together with them, he's used to his freedom.

On the file they're looking at, there's a stylized drawing of two humanoid figures, one with the head of a bird, the other the head of a wolf, and although the husband and wife don't realize this, I'm aware that image represents the two teenagers from the previous scene, who are "not like others" in the same way as the brother. The wife is saying, "But what's really (some word meaning something like 'strange' or 'unusual' or 'notable' or 'attention-grabbing') here is that the bird has a Double Hartford rank, ten pages in. I can't open it up."

There's this strange, vaguely canine creature with a head almost completely covered in bony ridges, giving the impression that it has a skull for a head. It changes shape, sometimes looking insect-like, a vast serpent thing with many legs, and very rarely, it takes the form of a woman. It serves a certain human man who found it on a cliff, and the first time it changes into a woman it freaks him out immensely - he's wondered if maybe the creature is actually a person under a curse, but he's not at all sure which is the true form. At the moment, he's thinking "(creature's name) is the answer" - the moment he thinks that, something else bursts into the room and the creature leaps up to fight it.

(Woke up. Back to sleep.)

A narrator of a play saying "Young Romeo spies the young witch Barathia in the woods, but..."

A person I know IRL is annoyed at me over a misunderstanding, and posting passive aggressive messages about it online. I wonder whether I should correct the misunderstanding or just leave it alone.

I'm standing on a street corner with someone, waiting for the light to change, when I see two people walking towards us, including that IRL person from the previous scene. The light changes just then, and I know I should probably wait for her to catch up, but I hurry across the street instead. I follow the guy I'm walking with down onto the railway tracks, and there's something I really enjoy about walking along the tracks at night. A train goes past.

Still walking with that same guy, we've reached the trailer where his mother lives. When he knocks on the door, this guy he dislikes answers, some bigot his mother's dated in the past, but last he knew it was over between them, he wasn't expecting him to be here. They say something to each other I can't hear, I can just tell the guy in the door looks angry, and then the guy I'd been walking with turns around and leaves. He's really upset. I tell him to come back with me, we can go spend the holiday at my mother's place, she'll like having us over. At one point he decides to go back and kick that guy out of his mother's house and I physically hold him back.

A cop who'd reported various odd cases passes a strange, monstrous-looking guy driving in the other direction.

There's a car crash. This werewolf kid had been running along the road, with a couple guys from school following behind him in a car, shouting at him and trying to catch up. This happens a lot - usually the guys in the car give up, he can run a lot faster than they can drive; and usually when they give up one of them sends him some insulting text message instead. But this time, as he was running, he passed that monstrous-looking guy the cop saw, this is someone he knows and someone who shouldn't be in town; and although he's lost sight of the guys from school, there's no insulting text message this time. He's worried. He turns around and heads back, and finds the car that the guys from school were driving has been run off the road into a field, flipped upside down.

A witch, the werewolf kid's mother, walks up to the car. One of the boys who'd been driving it is dead. The other one's been transformed into a fox. She picks up the fox and talks to him a bit, and tells him she isn't going to restore him.

(Woke up. Back to sleep.)

I'm setting dreams out on a stall in two rows, they're things that look like something between a bubble and a crystal ball. I call to this guy I recognize, I call them unregulated dreams, or unprocessed, unauthorized, some word like that - the point is there's some official approval process dreams are supposed to go through before they can be sold legally, and these ones haven't been through that process. I say to him that I know he wants them for his store. He says something positive but looks conflicted, and he looks over to Rumpelstiltskin, the guy who brought me here and helped me set up the stall.

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.

I'm standing in a clearing filled with men in armor and horses, near some trees. The guy I'm talking to is psyching himself up, saying he can't get excited about fighting unless it's (the particular people we're about to fight) - with anyone else, why bother? I refer to Alexander, the man we're following, as "the undiminished king."

A woman in a modern setting believes she's being punished, looking up at the sky and addressing her father the storm god, "What have I done?" - but what she saw as a punishment was meant as a message, about a friend who she's separated from.

1st person, as a wolf, a woman stroking my jaw and debating out loud whether to leave me in that form.

A teenage boy having guilt-induced hallucinations about a man he'd hurt, seeing him with a face burnt black and empty holes for eyes, I can see the wall behind him through the holes.

A book with an illustration of a red circle covered in black markings has gotten soaked and the markings are washing away, and the boy who damaged it is apologizing, but the girl who owns it is saying it wasn't the real deal after all, if it would run.