This is a very long post, and normally I would crunch it down into an open-and-closeable chunk, but I don't think there is any way to do that on KW.
I'm including a youtube link to a song that ends the first season of the wire, that (after I started working on this summary) came to represent some of the things going on in this dream. I am confident it is not "needed" as background for reading this overly long post, I just felt like it might be good context since I mention it later.
www.youtube.com/watch?v=Of-NHHmUO0k
I had a very long dream before waking up today, so I think it might be worthwhile to describe some of it. I will say that while the descriptions are not graphic, there is some violent and sexual content. If this comes across as a series of semi-connected but surreal vignettes, that's because I lost some of the connections pretty quickly. And if it seems like the last scene got the most "attention," it's only because it seemed so strong a picture to me that I was thinking more about it than about other parts (just as something in and of itself) that I feel I remembered more about the thing itself than about post-thing re-thing analysis.
And when I say something like "my character," or "me" I mean most that I understood the certain perspective as mine because I felt I was feeling from that character's perspective.
A good way of expressing it, as I hit upon later, is that I feel like I mindread from the "protagonist" of the dream, and see things from his angle rather than from others, but still feel like a very different person from him.
The first scene was my character on a plane. It was a passenger plane, and we had a military escort during our landing. I think I knew that I knew one of the escorts (my character did, that is), and this "turned out" to be true. We landed, and I met the escort, a female officer who has some sort of deployment orders, fairly soon. I think - and this is a bit of a guess - that me, or my character, understood the upcoming fight to be important, did not really know the importance, and saw a competent adult - that is shorthand for a hero - who has a role in it to confirm its importance.
The next set of interactions, which I do not remember at all, really, were between me, this officer, and a male character who I think of as an older brother. I think there were definitely romantic undertones between the brother and the officer, and also a "your duty and mine" sort of understanding between them (the brother is not felt to be in the military, or serving in it, and maybe does not care much).
(It doesn't seem unrealistic to say that my character's perspective is that the officer was trying to get the brother to join the army, and that the brother was trying to get the officer to quit the army. Not that they were talking about such things, but that each was trying to draw the other into their own sphere. Analyzing whether these attempts were selfish or selfless, caring or care-lacking, etc.,. would probably be not only presumptuous, but unrealistic, given this things nature as a dream.)
I do have a sense that the next thing that happened was some sort of decision for the older brother, the officer, and me, to visit the brother's estranged wife. I don't particularly get the feeling this was to address the dynamic seen above, or to complicate things. It was a "normal" visit. I.e., whatever was between the officer and the brother, and the estranged wife, and me, for that matter, it was natural that it was a good time to see the estranged wife again.
The next thing I can only speak of as an interjection in my character's narration. It's sexual so I've spoilered it, but I feel like content like this has been in the dream thread before?:
(Additionally, for those here who read The Gap series, this actually has the name of a character from that here.)
A man - whom I do feel I'm "living" in now - is having a dream, he is making love to his lover, wakes up, goes looking for her, finds her, and there's a feeling or emotion of "oh, thank god" or something like that, as well as a question - rather verbal, I think - "do you remember the kiss?" that I can't assign to either the man or the woman.
That is, the "relief" is definitely "mine" and I am the "man," but the question is something being asked of me, but I don't feel like I'm the "man" anymore.
The impression I had would be like...I had been given a vision as a "leadup" to a question which doesn't have any clear or direct tie to the vision.
I had a fairly strong impression that the woman is Liete Corregio - that's the 3rd in command of Captain's Fancy, who alters the attack plan on Sorus to an attack plan on an amnion ship in order to save Nick and the other capn's fancy off-boaters (and angus). I wouldn't mind interpretations that look to assign any character, or me, an aspect of Succ's identity, but I didn't get any other impressions of "Gap centered existences" in this dream.
And I feel it might be useful to say I didn't have a N.E. before someone cracks a joke. I hope I didn't have a nocturnal omission.
The next thing involves my character knock/ring/openening a door to a house. This is the first time in a while I get a sense of place. This is a somewhat expansive 1 story house. I don't know anything about architectural styles. I think it could be brick. I guess it's sort of a ranch style, insofar as the door area feels slightly "enclosed" in a corner of the home's construction, rather than along the center of a long exterior wall that's fairly straight in each direction outward from the door. As I'm let in, the officer is not very far behind, the older brother is a ways further back, but approaching. The woman who lets me in is the wife.
I didn't have any sort of impression of her as a person like I did in the spoilered sex scene just prior, but I will say that it seemed "obvious" that the brother was the man and that she was Liete (or the woman who seemed to be her). As only a dream can do, since I was following my character now, this was like a note I and he tucked in our pocket. Some sort of argument - not that loud or disturbing - occurred between the brother and the wife.
In the next scene, myself, the officer and the older brother are in some sort of club, performance venue. I dunno the names for different kinds of stage and floor constructions, but it's one of those big stage, some curtains, and a lot of floor room with small tables, dance space, and the like. There's a family running this place. There's a little girl who goes missing. It's in a funny way. There's sort of this hole, in the wall, that seems to small for her, and she goes through, and my character doesn't know where she goes. We're calling out "little one, little one, where did you go" and others in the room, some of them worry and call out, and some of them don't care.
We then just do something as simple as going towards the front, and there's an open window, and we look out (it's on the same side as the hole in the wall) and the girl is outside playing in some ho-hum alley. We feel relieved and ready to turn away.
Here's one of the odder things that happens in the dream. Someone just tells us something in a gobbledygook language, that we instantly understand as meaning "little one are you ok?" but not in english, so we go to the window and shout that - understanding exactly why we would, to communicate our concern - and she shouts back something that isn't understood but means "yes, don't worry." So then we turn away just as relieved.
The next thing is pretty instantaneous and almost corny. A van drives up and toughs come out. They are after the older brother. It is obvious. A debt is to be paid or something. They threaten us with the little girl to get the brother to come out, and then intend to take the brother. The next thing is something neither good nor bad that I believe I had no role in (except as the dreamer) - my character goes out and beats them all up. All his blows are just punches to their face. There doesn't seem to be any danger for him in doing this whatsoever. However, they're all "fine," and now some additional debt has been incurred.
So then I (and my character) ask if we can be used as debt in place of the brother, temporarily. We're taken.
The next scene is probably the most powerful for me. There will be a bit of description that I think creates "impressions" that resembled what I was gonig through, but may be creative. I don't think they are, however.
I am let out of the car, and there are many people getting out of cars. We are in the midst of tall buildings in a city (perhaps not coincidentally, we had this feeling at the club when looking out into the alley). Many many people. They are probably still toughs. But it's not clear this is crime, or conscious organization, or anything, nor is it felt that. We walk about a block from the car and there is a grassy field and a fairly tall fence (maybe about 1 story of a building, chain link.
Incidentally, with us is now one Omar Bell, from the Wire. I feel confident this was something we knew as we were getting out of the car. At the time he was thought to be just our guide. Like the Char's Counterattack thing (see below) and Liete Corregio, it was "obvious" who he was even before he was someone we saw in this dream (but maybe only once we saw him in the dream).*
But there is the chain link fence. At this point, Omar is now actually piggypacked on me (that is, I'm carrying him). It is my goal to climb the fence, and also to use Omar as a source of information for how to climb it. He offers both encouragement and a certain amount of taunting, but overall remains quite affable. It is refreshing to hear any voice. The other climbers seem to have moved beyond sound.
It becomes obvious that because of our arrangement, I can't climb the fence. It's not that Omar is too heavy - in fact, his weight is not someting I'm conscious of at all. Something has gone on with my hands, and feet, and my movement is in some way restricted.
It's also an odd thing that there are gaps enough in the fence to pass through. As though someone took a great slashing clever and cut from the top of the fence to the bottom, and there were chasms of non-fence in between, and the cleavers gathered the bits in between the gaps so there was no detritus of metal. Not many people are using them to go through. Strangely, there seem to be "enforcers" who close the gaps. At first, I can only notice certain large figures moving to and from the gaps, practically flitting, and then, where it seems they just were, "intermeshes of new fence," new chain, keeping me from going through. As time passes - not much time, just the notice of a couple more gaps - their method becomes more realistic. At first, I catch them putting forearms against each side of the fence (the gap, rather), somehow "enlarging" themselves, and then new sets of chain abruptly forging in between the gaps.
Eventually, a few more gaps noticed (me running to them just to late, now really trying to get through) where the linkers just stretch and add enough strands from gap to gap. It becomes strange to realize that I've been bonded to Omar with some kinda tie (oh btw, never got any reason to think it was a fence), that keeps me from undoing these links, which are held practically and only by their own stretching and tension, and if I could get my fingers around them, I could bend the fences closer together until I could remove some of the links. But I can't, because my hands are tied.
One other "geographic" thing of importance is that the fence is like a hard 90 degree angle along a corner of the city I'm in, with some grassy space in between. The people who have climbed now follow along the fence, using it as a guide, a perimeter around which they currently walk.
I don't really remember the details of my conversation with Omar, but as I've been trying to make it past the fence, I've been trying to understand why he's with me, and why he won't give a great deal of advice to me about some kind of process I figured he would have insight on. The end of the dream comes, shortly after I realize that my bond with him prevents us both from doing anything whatsoever regarding my current predicament, that he says to me
"I just felt like taking a gamble on unprotected loyalty and sex."
I actually do feel confident I got "vocals" from Omar for this line, and I'm not confident that unprotected didn't come before sex, but this was one of the "seemingly unshaped but possibly shaped" aspects of the dream - that I could only remember it as "unprotected loyalty".
It is funny that this description I've given "seems" to draw strongly from the themes of "Step by Step" by Jesse Winchester, which ended the 1st season, and I do think of that song sometimes, but it's funny to think it influenced this dream image. I mean, it only occurred to me as I transcribed it.
INTERPRETATION: Or at least clarification.
At this point (not in the dream) I feel it's obvious it "isn't" Omar, or at least it seems intolerable that Omar would retain Omar's unflappability in this kind of situation, because I don't think Omar would relish impending death in such a carefree way. I know there's no such threat in the dream that I constructed - I guess I mean failure as much as death, or something, I don't know or care very much. Maybe I am wrong however.
In a sense, the piggyback image reminds me far more of the tale from the sinbad stories (IIRC) where Sinbad cares for an old man who treats him quite terribly, and eventually kills the old man in order to leave (he was more or less plotting to all along). This isn't to suggest, however, that such an emotion was present for me. For me, during the fence seen, there was simply a strong yearning not to live or to die, or whatever, but simply not to hold the others back - including the one on my own back.
There was even a worry that my absence would stall the officer in some way, because there was a strong feeling that her involvement was motivated by concern. If the crowd left at the club knew of my predicament, would they leave the comfort to find me because I had stood up there? Less so the brother, for reasons I can only vaguely understand. Maybe since he wasn't a woman, his concern was less important. Maybe because he was seen as more tied in personal struggles, my own worries were a burden he should not be involved in. It's also true that as far as the officer goes, ultimately, the importance of the dream was placed in the military struggle to which there was no connection, and her importance in that struggle - and the importance of every fighter - seemed undeniable. It would have been "criminal" to divert focus from such a conflict. In that sense, it was the decision to interpose myself for the older brother, to both acknowledge some kind of agreement and natural flow AND to disrupt it and control it, that seemed to have been quite bad. Yet, there was relief at the end, because even watching the dream, there was a feeling that this would be the end.
It may seem that these are all rationalizations, but I think it would be more accurate to say that they were influences felt constantly during the dream.
The other "editorial comment" I'll make is it may be worthwhile to understand the opening "title" of this dream for me was "Mobile Suit Gundam: Char's Counterattack." I don't think any of the events in this dream really make use of this film in an exclusive or important way. However, there was a feeling of an imminent, world-spanning disaster for me as I was dreaming, and that this had to do with military action on a grand scale (at least on the level of near-earth colonials and earth), and I did sort of have a strong feeling of the words "Char's Counterattack" very, very early on, which probably influenced this feeling.
(but the effect was similar to Liete Corregio and Omar Little, where the assignation did not seem consciously matched, and so well fitting it was undeniable)
(In the movie, a longstanding conflict generally seen as being fought between earth and its orbiting colonies is temporarily resolved, and the two most pronounced "larger than life" single-unit fighter pilots whom the viewers of the metaseries have presumably followed somewhat carefully more or less kill each other.)
)
Sorry lorin. 
