These results are a rough estimate of a proper analysis. The AI used to generate this report can make very stupid mistakes. Numbers in parentheses represent the confidence the AI has in the preceding statement.
This is how you described the room:
It is a yellow warm bedroom. The bed is made with a floral print, and there is a dresser in the room. The room also has some prints in it. The bed and the dresser are the only furnishing with the two prints.
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. This comfortable room suggests a childhood that was pleasant (99.33%). The significant detail in the description of the room tells us that the subject has rich, lasting memories of childhood (90.60%).
You wanted to stay in the room.
The subject did not want to grow up.
This is how you described the forest:
There are big tall trees and you can see the sky over the tall trees. It is a bright day, but the trees cover up much of the sunshine. You can see the blue skies when you look way up.
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. A semi-dark forest tells us that the subject felt somewhat oppressed by the attention the adults gave (78.92%). Tall trees imply that the adults had a strong influence on the subject (100.00%).
This is how you described the path:
The path is a well worn narrow path. There are no obstructions and it is clearly marked. There is no one on the path, but it is well travelled.
Adolescence is represented by the path through the forest. Lots of obstructions on the path indicate many problems during adolescence (37.59%). 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 (59.53%). Poor visibility of the path tells us the subject was often confused by the changes brought on by adolescence (52.33%). A wide path indicates that the subject had numerous options for emotional growth at this time (67.78%).
This is how you described the water:
The body of water is a lake and if you look you can see the other side. The water is moving and clear. You would be able to drink the water, and also there are fish in the water.
The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). Murky, dirty, or otherwise unclear water suggests that the subject has significant issues regarding sex (88.88%). The presence of life in or around the water indicates a strong desire for children (83.48%). The movement of the water suggests a normal, average if somewhat playful sex drive (99.99%).
When you came to the water, you went around it.
The subject is not interested in new sexual experiences.
This is how you described the cup:
The flask is a large dark cup that you can take a lot of water in. There are no handles, it is just smooth and deep.
The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. That the container is refuse or damaged suggests a cynicism about the institution (54.24%).
You left the cup behind.
The subject is not interested in marriage.
This is how you described the key:
The key is a large old key, kind of a skeleton key, and I think it unlocks the door to a big old victorian home.
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). Decorative keys suggest that the subject wants an attention-grabbing, one-of-a-kind career (46.21%). Note that the subject is confused about the purpose of the key: the subject has no discernible goals when it comes to a career (36.52%).
You avoided the bear.
In a crisis, the subject prefers the indirect, non-confrontational 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.