There's this man who's gotten himself into some trouble, and I've offered my help in solving that problem. Alternatively, I've told him to speak with a woman who works for me, and she'll help him disappear for a while. When he doesn't come to meet me, I check in with that woman, still in the alley where I'd told the man to meet her, behind the building where she works as a maid, still in her uniform. She tells me the man didn't show. She looks worried. I'm annoyed. I think the man's making a poor decision.
It reminds me of another time. I see a building on top of a lake, a massive black arch. I'd made a deal with a woman that had led to the creation of this structure. She sees it as an architectural wonder and a symbol of her power, influence, capability, something along those lines; I see it as something impermanent. Like Ozymandias. I think of it as foolish. And I thought she would have realized that now that her deal's played out; I'd expected she'd want to make a new deal, to change course, I was looking forward to it. But when she does come to me for something else, it just compounds her original mistake. I'm disgusted but give her what she asks for.
I'm talking to a man, a great inventor or artist of some kind, who's been given an arena to work in. The structure is very white and the sky is very wide and very blue, and the arena's filled with shadowy figures he's been given to work for him, something like automatons, not alive. Human-shaped, but when I focus on them they look a bit like something that's been burned to charcoal, flaking at the edges, except for their teeth, which are white and sharp; inactive right now.
Until this moment I had a lot of contempt for this man. But he's saying to me, "I'm not an idiot," and that he knows he's already made his last great work. Though he's currently working on a project, and though his masters who gave him this arena have great expectations of him, he doesn't expect to live to complete it. His bitterness makes me think a little more highly of him.
Working for these things was a mistake. I don't say this to him out loud. There are a couple floating hooded figures with white masks in the arena, and we're both putting on something of an act for them. They're not his bosses, or guards, exactly, but they are effectively monitoring him at the moment. Something more like citizens, as opposed to slaves like him, however honored a slave he might be. He turns off the music he's been listening to while he works, and he's trying to give the impression that he's simply stopping work for now and going to bed as usual, that there's nothing wrong.
Escaped from my IRL home onto my IRL street and went lucid when I crossed that boundary line. Started flying, admired some views of Christmas lights, getting less and less realistic as I went on, culminating in a castle with turrets completely covered in white lights.
Memory gap, crossed a lake by a natural rock bridge and entered a cavern on the other side, memory gap again, and then I'm semi-lucid again in a room with three sleeping people I recognize, including Julia. I try to leave without disturbing any of them, fail in this. Mary Jane wakes up, the closest to the exit, and we speak for a while; although we seem to know each other, I'm aware that Mary Jane is wholly imaginary, and that's the point of her in this scene, that she's imaginary. Julia is in the bed across from hers, and eventually wakes up - that's what I wanted to avoid most. I can feel the sensation of pressure from her hand, which stands out - it's the first time I've used that sense in tonight's dreams. Her face has started to resemble Mary Jane's, which is sad but not a surprise; but I think "her name is still her own," which is a surprise and a relief. (This whole scene is about mental associations.)
I'm talking to the thing which is possessing/has become a part of a friend of mine. It's attempting to be threatening, and I'm attempting to stall. We're talking about why it would bother possessing someone at all.
Although I don't say this out loud, I'm thinking that for me the appeal is what I think of as different flavors, the experience of different personalities/perspectives, when from the outside they pretty much all seem alike. And I'm also thinking that travel is the more obvious reason, the one that it would expect me to guess without having any personal experience with possession; and I think that sure, visiting Hawaii and seeing some pretty scenery is always appealing, but then there's the way humans will get up close to an active volcano, which is the really interesting part - meaning their thought process, not the volcano or even the danger itself.
But the thing possessing my friend says that what it likes is the conversation; that we've been talking now for two minutes without pause, and it's enjoying the novelty. I don't get the appeal, but whatever works for you.
I enter a lecture hall and speak to the man who I believed summoned me, dressed in black with a small white owl on his shoulder, but it turns out the owl is the one that called me; this is news to the man in black, and he's not pleased about it. The owl speaks in a pleasant woman's voice and changes into the shape of a four-sided mask, one face for each direction; three of them are simple stylized masks made of wood or similar, but the fourth is an actual face - it moves, it has eyes - just in cartoonishly distorted proportions. She's been sealed/trapped/stuck/reduced to this. She introduces herself as Loki Laufeyjarson, which is not the name I was expecting her to say but I roll with it.
She talks about each of her masks - in the one that resembles an actual face, she says she'd taken this form and scorned high heels (meaning an artificial way of gaining the height she feels she should have had anyway - 'height' is not really the issue she's talking about). In one of the wooden masks, she talks about using this form for dealings with a magician, and she suspects that magician of having a hand in her current unfortunate circumstances.
She returns to the form of the owl sitting on the man in black's shoulder, and we're now in a yard behind an estate, surrounded by partygoers. The man speaks of my payment and I dismiss the small amount of money he offers; I tell him I expect him to provide me with food and lodgings, pea soup and three packs of smokes a day. (Neither of those are things I'd want IRL, but I wasn't being my IRL self here.) I'm already leaving, stepping over an ornamental pond; it's a demand, not a negotiation. He's irritated, but she accepts immediately. I walk off into the trees along the border of the property.
In earlier scenes, symbols of eyes and blue lotuses above the entrance to a cave, and drinking a polar bear's blood from a glass while wondering about parasites.
A man confronts me at my IRL home, having tracked me down, holding me responsible for something that happened long ago. I hear a memory of something he'd said to me then - "The rule of kings is over. We will take our place among free nations." The scene shifts to show the beginning of the thing he blames me for. A procession through a city, passing by a river, soldiers in silver-colored armor, rows and rows of lances in the sunlight, the king and myself in tall masked helmets and long robes, at the corner of my vision I'm aware of a ship moving along the river with sails and oars and something golden about it, and it's all a striking image, but I'm thinking of something like Cosa Nostra.
A woman made a deal with one of my kind, a short man in a black suit who irritates me, and so he's placed his mark on her wrist, a symbol in the shape of a sword, representing "Iudex," the judge. This will allow him to possess her, though she was unaware of this. I'm furious. He's well within his rights, but I deeply dislike him and his people who bear that symbol; I'm going to destroy his mark. It's not difficult, any changes to the lines in her skin will do the job. I ask her to choose the method (a knife) and if she wants me to do it for her or if she'd rather do it herself (she asks me to do it), three horizontal cuts distort the symbol sufficiently, and then I set out a bandage for her.
I'm walking through a party full of sleeping people on couches, looking for a free space to lie down. This place belongs to my family, but at the moment I'm a guest like any other. One of my sisters notices me and gets up from her space, leaving it to me; the man she'd been sleeping with gradually curls up around me in her place. It's comfortable. The part of me that's aware this is a dream appreciates how realistic he feels.
Outside a window, the scenery is moving. I decide this is because we're on a train, but I'm aware of the rationalization. I become semi-lucid and enjoy the scenery for a while. There's a great cloud funnel something like a tornado, but rolling along the ground like a great wheel stretching between heaven and earth. It's very beautiful. But now that I've thought of it as a tornado, it stops behaving like a wheel and behaves like a tornado instead - which is less interesting, but still very beautiful.
I watch one tornado after another moving in the distance, growing closer, passing in front of the train, until it starts to feel like a danger, and I'm aware this could become a nightmare. I speak a prayer to a goddess until it stops feeling like a nightmare. This causes the man who'd been sleeping to take notice of me; he's aware I don't belong in his dream.
He starts talking, asking me questions which I don't answer. He's pleasant to listen to, and I'm a little annoyed because I know I'm not going to remember anything he's saying to me once I wake up. I make the effort to focus on his words to try to memorize something, but I only end up hearing the sounds instead of the meaning behind them. Eventually he stops speaking. He's left; his body's still here, but nobody's home, and I believe the dream will get rid of it at the next opportunity. The train passes through a tunnel, going dark, and when the room lights up again his body is gone. I leave the train and continue with non-lucid dreams.
A young woman's walking quickly through the woods just before dawn - the trees are sparse and thin, lots of fallen leaves from past seasons covering the ground; she's wearing simple dark clothing and a white cap, from maybe around the 1500s. She's very nervous. I follow her as she steals a black hen - she's thinking about some dog as she does it - and makes her way to a well.
But just as she reaches the well, an older woman grabs her and shouts, "Witch! Possessed!" This woman's familiar to me. Painfully thin, red hair so short and strangely cut that I suspect it's growing out after being shaved off completely, wearing a nightdress as if she'd just seen my witch and jumped out of bed to stop her, but I don't believe it's a coincidence that she's here; I believe hunting witches is something she's done before.
The scene changes. Three men - two middle-aged, one older, all still looking like it's the 1500s - are discussing the woman who'd been caught as a witch, and her mother. Her mother had been the same, accused of "magical transformations," but she'd died years and years ago, and the daughter had been raised by another since she was a child, changed her family name. The last these men had heard of her, she was to be married to some knight. They frame this marriage as a very good thing, that she had a good life that she's thrown away; but I hear them say this and I think indeed she was married to him, and that had gone very badly for her, and that's why she summoned me.
Later. Different scene entirely, my IRL home, a pair of men attempted to break in and I turned them into cats. Cat burglars. They made for very angry cats but I was pleased with myself for the joke, and my sister had been wanting a white cat anyway.
Updated 09-05-2016 at 04:04 PM by 64691
(Dreaming hasn't been a focus lately, but: )
I'm floating in a void full of clouds and stars, and recognize that I'm lucid. A destination comes to mind - not one I'd planned in advance, it's an impulse. With that thought, I have the impression I've changed direction, moving closer to the earth - slightly negative connotations here; not bad, just frivolous.
I'm in a bar; it serves as a front room for my actual destination. There's conversation, people sitting around at tables; the bartender's a heavyset and balding man. Asks what I want to drink. I believe I'm not physical enough here to either drink or pay for anything, but refusing to order anything isn't acceptable, so I ask for a water. I'm thinking about the unusual vividness of this scene. The man to my right, clearly a regular, starts talking to me and the bartender, talking about the guy who owns this place (the person I came here to see) and the way things are done here; I'm going to have to set up a tab before I can order anything, even water. The bartender asks to see my phone in order to give me the owner's number. I take it out, but the screen's showing what I think of as the real world, in contrast to this place. I'm concerned about the bartender seeing that and recognizing that I'm out of place here. I hand him the phone anyway. He programs the number in without seeing anything out of the ordinary and hands my phone back.
The image on the phone, my 'real' world, is showing a woman with dirty blonde hair, winter clothing, knit hat, walking on a narrow street at night, the outskirts of a small city maybe, lots of greenery around on this particular street but the sense that there's a much more heavily built up area within walking distance. She's talking to someone, male, a friend or a sibling. The scene shifts so I'm there with them. They walk, they talk, they're being followed by something other than me. There's a sense of the dream becoming a nightmare.
As they entered an apartment building, I made the mistake of reacting to the other thing following them, thus letting it realize I was aware of it and attracting its attention. It attempted to latch onto me instead, and in the next scene it's taken on the role of my younger sibling (not one of my actual IRL ones), inserting itself into a role in my dream the same way it had been playing a role in that woman's dream. There was a brief moment where I accepted it as my sibling, before I remembered. It was very shocked when I hurt it in the process of removing it. "Ow, ow, you're hurting me!" "Get off of me, then." It did, and I woke up.
Updated 08-31-2016 at 06:18 AM by 64691
While guiding a woman through a certain demon's territory, I make a deal with him for safe passage. I offer him what appears as a glass paperweight in the shape of a globe. It represents a world that's about to die, though the inhabitants aren't aware of that yet. Neither was the demon.
He's sorry to hear it, he'd enjoyed that world - hence why I'm offering him my rights to it. It's the same sort of emotional tone you'd use for a game that's coming to an end. I'd hoped it would end differently, but it failed, which means now it's just another piece of territory for us to use as bargaining chips. He takes the deal.
Answering a queen's summons, I kneel before her throne and wait. Eventually, I realize she's ignoring me. Just wanted to see me kneel. That's fine. I think of an old mentor, a meditation style holding one position for hours, and settle in to be here for a while. I can hear her advisors talking to her, two nervous men with high voices pointing out that I'm waiting, using a title for me. But I'm aware she's angry about her son.
When she finally acknowledges me, she says she wants something I'd once promised her. I tell her she's welcome to it.
(Though not lucid, this first one was about dream control.)
I've finally figured out how to work with this house. I've begun simply telling it, out loud, what I need from it - not exerting any effort or willpower, just a statement. "House, we need x thing," and the house takes care of it itself, without any effort on my part - simply informing the house what's needed instead of trying to control it. Amazing what a difference clear communication can make.
I'm talking to a servant girl in a room about the size of a closet where she both works and, I'm surprised to learn, sleeps. I ask if she'd like her own room, which of course she does. "House, we need a spare room." I walk out the door and find a new room's appeared, though it's dark and half-finished and covered in dust. "A nicer spare room." Now it's something suitable for living in - and I don't think I looked away, and there didn't seem to be any transition. One moment it had the first appearance, the next moment it was completely different. The girl explores the new room, exclaiming over it. There's a little bundle of fake white roses in a bowl of sugar.
There's what I think of as a wildfire at the edge of the house, just small patches of burning grass but I know it'll grow if I'm not careful. I have the impression this is the result of carelessly reshaping things, creating vulnerabilities around the edges. I have the house stop the fire, and though the fire's stubborn, it goes out as I walk towards it.
(Woke up. Back to sleep.)
A servant girl came running into a room at the back of the household after hearing one of the other servant girls shouting, but I grab her at the door and stop her. I can hear voices outside, and I recognize the voices of some soldiers who were causing problems with that second girl earlier, somewhere more public. They were reprimanded. Clearly they resented it and want payback. Realizing this, I admire the girl who came running to help; she's small and only armed with a kitchen knife and completely outnumbered, but she doesn't hesitate. Very noble.
Unfortunately for both of them, I'm in a hurry, so I'm not going to let her go help her friend. I'm just here to track down an object that belongs to me and which was stolen long ago, and which she stole from its most recent owner - a leather journal with a star on the center of the cover.
She showed me her room where it was hidden and ran off as soon as I released her, and I start looking through the journal, full of brief observations and sketches I'd drawn. I stop at the sketch on the last page, Jules sitting in a chair with his head tilted back. I feel like there's something foreshadowing about this. And while I'm looking at it, I hear an old man's voice as if he's looking over my shoulder. He makes a comment that makes it clear he recognizes Jules, and then asks me, "Did you follow me?"
A deal has fallen through. Sort of. I've got a prince in my debt, but that's pointless - what I needed was for him to eventually become a king, so that a little further down the timeline, he'll be able to ask another king for a favor. But the princess I'd intended him to marry has now been burned and beheaded due to a minor demonic possession incident, so now he's useless to me.
I find another kingdom that will work, a desert. Two daughters. In the throne room, I meet the younger daughter, but that timeline doesn't interest me. The eldest is locked in the dungeon, and I take the prince to meet her instead. I recognize her, though she doesn't recognize me - I'd met a version of her in another world. She'd been a he at the time. The prince had known her in that world too, and I think that could work out either very well or very badly. She's a lot angrier this time around, something of a freedom fighter, turned against her own father. This is promising.
Updated 01-26-2016 at 09:30 PM by 64691
During a string of fairly uninteresting dreams, I escaped out a window and found myself lucid. I was looking at a dark mountain range in the far distance, and hearing a voice saying "Aurora, awaken." Aurora apparently was me, which I thought of as an odd choice of names; I associated it with Sleeping Beauty. I thought of this place as the abyss. I attempted to create a bridge, but found I was altering the scene as a whole instead of individual elements; I saw scenery representing my bedroom around the edges of my vision. I stopped the attempt to alter the scene and exited back through the window instead.