Analysis for Neal Frick, 22 January 2003

This is how you described the room:

The room is blue, cluttered and messy. It's freezing, as if there's an open grate to the outside. There are two desks pushed up against one wall, a closet full of clothes and a bunk bed. There isn't anything on the walls, and nothing in the room that could be described as decoration except for the piles of clothes and random statuettes.

The initial room is the subject’s childhood. What interests us here is the general atmosphere of the room, in addition to the level of furnishings described by the subject. An uncomfortable room suggests a childhood that was devoid of happiness. The items in the room are average, which tells us that the subject has the normal memories of childhood.

You wanted to leave the room.

The subject wanted to become an adult.

This is how you described the forest:

On either side of the path are huge, towering fir trees, a vibrant emerald green with the hint of sunlight peeking through the branches. It's a muted brightness, but it's obviously the middle of the day.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Tall trees imply that the adults had a strong influence on the subject. Average lighting tells us that the subject received enough attention from the adults to be guided but not oppressed.

This is how you described the path:

The path is wide and well-traveled and it's the deep, brown of the earth that stands in stark contrast to the surrounding trees. It's easily navigated, very smooth and flat.

Adolescence is represented by the path through the forest. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence. A wide path indicates that the subject had numerous options for emotional growth at this time. The strong evidence of fellow travelers tells us that the subject received a lot of support from friends and family during that potentially troubling time. That the path is free of obstructions indicates that the subject had no problems during adolescence.

This is how you described the water:

The river at the end of the path is a crystal blue, completely transparent and beautiful with vibrant fish swimming up and down stream. There are large outcroppings of rocks in the middle of the river, making it easy enough to cross or to just sit in the middle.

The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). Fast-moving water indicates a strong, active sex drive. Clear water tells us that the subject has no issues regarding sex. The presence of life in or around the water indicates a strong desire for children.

When you came to the water, you crossed it.

The subject is open to new sexual experiences.

This is how you described the cup:

It's a brown, leather water flask made out of deerskin. It's classically curved with a dark blue fabric shoulder strap.

The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A practical container indicates that the subject is pragmatic when it comes to questions of marriage.

You left the cup behind.

The subject is not interested in marriage.

This is how you described the key:

The key is golden, ancient looking. The top is intricately carved, a Celtic knot of some kind. It looks to open a chest or drawer of some kind, rather than a door.

The key is the ideal career for the subject. What interests us here is how the key appears (representing how others view the career) and what it may open (representing the subject’s goals for the career). Having the key open a house, car, or other commonplace use tells us that the subject has no extraordinary expectations about a career. Decorative keys suggest that the subject wants an attention-grabbing, one-of-a-kind career.

You confronted the bear.

In a crisis, the subject prefers the direct, no-nonsense approach.

When you came to the wall, you jumped over it.

The wall represents death: by jumping over it, the subject not only acknowledges death but has come to accept its finality.