#egyptian lifestyle

[walkswithmycamera]

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We hired a motor #boat and a Captain from the KFC, just a short walk from our #nilecruise ship to take us around the islands and discovered this incredible sight. #iloveegypt

Here, on the West Bank of Aswan at the weekend, the local people head across the river Nile either by boat or across the new dam, a little further up river.

They swim in the river, meet up with friends and family and have picnics. The Nubian village market also takes place. Check out those camels 😊

Video by Shell Chapman - find my YouTube channel HaveCamera_WillTravel for more shorts and videos.

[mycolourfullworld]

Cleopatra ascended the throne at the age of 17 and died at the age of 39. She spoke 9 languages. She knew the language of Ancient Egypt and had learned to read hieroglyphics, a unique case in her dynasty. Apart from this, she knew Greek and the languages ​​of the Parthians, Hebrews, Medes, Troglodytes, Syrians, Ethiopians, and Arabs.

With this knowledge, any book in the world was open to her. In addition to languages, she studied geography, history, astronomy, international diplomacy, mathematics, alchemy, medicine, zoology, economics, and other disciplines. She tried to access all the knowledge of her time.

Cleopatra spent a lot of time in a kind of ancient laboratory. She wrote some works related to herbs and cosmetics. Unfortunately, all her books were destroyed in the fire of the great Library of Alexandria in 391 AD. C. The famous physicist Galen studied her work, and was able to transcribe some of the recipes devised by Cleopatra.

One of these remedies, which Galen also recommended to her patients, was a special cream that could help bald men regain their hair. Cleopatra's books also included beauty tips, but none of them have come down to us.

The queen of Egypt was also interested in herbal healing, and thanks to her knowledge of languages, she had access to numerous papyri that are lost today. Her influence on the sciences and medicine was well known in the early centuries of Christianity. She, without a doubt, is a unique figure in the history of humanity.

[travelingare]

📍Cairo,Egypt.

captures the essence of Cairo, a city that stands as a testament to the enduring allure of ancient civilizations, blended seamlessly with the vibrancy of modern life. The Pyramids of Giza, guarding the horizon, and the enigmatic Sphinx offer a glimpse into the past, while the teeming streets and bustling markets pulse with the energy of today.

Within this sprawling metropolis lies a treasure trove of history, from the majestic mosques and grand museums to the serene Nile flowing gently by. Cairo is a city of contrasts, where the aroma of traditional Egyptian cuisine mingles with the call to prayer, creating a tapestry of sensory experiences.

@bmseventh

#cairo #egypt🇪🇬 #travelingare #travelphotography #architecture #pyramids

[gringadano]

[yammyyyy]

[bobowhipsblog]

エジプト人は、水星をトート(Thoth, 魂の輸送者)とみなしていた。ギリシャ人とローマ人は、水星をヘルメス及びメルクリウスー神々の使者とみなしていた。

中世での水星は、錬金術師た��の神、メルクリウスとしても知られていた。メルクリウスは「錬金術上の両性具有」である。また、占星術の伝統での水星も男性と女性のどちらでもなく、そのどちらでもある両性具有である。ギリシャ神話では、ヘルメスとアフロディテの性的結合が、ヘルマフロディトスとして知られる男性であると同時に女性である神を生んだ。タントリック・ヨガでは、脊柱と関連する中央の柱を昇っていくクンダリーニ・エネルギーを覚醒させることにより達せられる統合された意識野が、その柱の周囲で絡み合っている男性性と女性性の二つの経路を融解させる。この中央の柱の周りに巻きつく心的な経路の形象は、ヘルメスが持っている二匹の蛇が絡みついた杖、すなわちカドゥケウスを思い起こさせる。それは治療従事者の聖像とされてきた。

[hayatynatural]

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[lordgodjehovahsway]

Exodus 14: God Saves the Israelites from Pharaoh's Army, while Gaining His Glory

1 Then the Lord said to Moses, 

2 “Tell the Israelites to turn back and encamp near Pi Hahiroth, between Migdol and the sea. They are to encamp by the sea, directly opposite Baal Zephon. 

3 Pharaoh will think, ‘The Israelites are wandering around the land in confusion, hemmed in by the desert.’ 

4 And I will harden Pharaoh’s heart, and he will pursue them. But I will gain glory for myself through Pharaoh and all his army, and the Egyptians will know that I am the Lord.” So the Israelites did this.

5 When the king of Egypt was told that the people had fled, Pharaoh and his officials changed their minds about them and said, “What have we done? We have let the Israelites go and have lost their services!” 

6 So he had his chariot made ready and took his army with him. 

7 He took six hundred of the best chariots, along with all the other chariots of Egypt, with officers over all of them. 

8 The Lord hardened the heart of Pharaoh king of Egypt, so that he pursued the Israelites, who were marching out boldly. 

9 The Egyptians—all Pharaoh’s horses and chariots, horsemen and troops—pursued the Israelites and overtook them as they camped by the sea near Pi Hahiroth, opposite Baal Zephon.

10 As Pharaoh approached, the Israelites looked up, and there were the Egyptians, marching after them. They were terrified and cried out to the Lord. 

11 They said to Moses, “Was it because there were no graves in Egypt that you brought us to the desert to die? What have you done to us by bringing us out of Egypt? 

12 Didn’t we say to you in Egypt, ‘Leave us alone; let us serve the Egyptians’? It would have been better for us to serve the Egyptians than to die in the desert!”

13 Moses answered the people, “Do not be afraid. Stand firm and you will see the deliverance the Lord will bring you today. The Egyptians you see today you will never see again. 

14 The Lord will fight for you; you need only to be still.”

15 Then the Lord said to Moses, “Why are you crying out to me? Tell the Israelites to move on. 

16 Raise your staff and stretch out your hand over the sea to divide the water so that the Israelites can go through the sea on dry ground. 

17 I will harden the hearts of the Egyptians so that they will go in after them. And I will gain glory through Pharaoh and all his army, through his chariots and his horsemen. 

18 The Egyptians will know that I am the Lord when I gain glory through Pharaoh, his chariots and his horsemen.”

19 Then the angel of God, who had been traveling in front of Israel’s army, withdrew and went behind them. The pillar of cloud also moved from in front and stood behind them, 

20 coming between the armies of Egypt and Israel. Throughout the night the cloud brought darkness to the one side and light to the other side; so neither went near the other all night long.

21 Then Moses stretched out his hand over the sea, and all that night the Lord drove the sea back with a strong east wind and turned it into dry land. The waters were divided, 

22 and the Israelites went through the sea on dry ground, with a wall of water on their right and on their left.

23 The Egyptians pursued them, and all Pharaoh’s horses and chariots and horsemen followed them into the sea. 

24 During the last watch of the night the Lord looked down from the pillar of fire and cloud at the Egyptian army and threw it into confusion. 

25 He jammed the wheels of their chariots so that they had difficulty driving. And the Egyptians said, “Let’s get away from the Israelites! The Lord is fighting for them against Egypt.”

26 Then the Lord said to Moses, “Stretch out your hand over the sea so that the waters may flow back over the Egyptians and their chariots and horsemen.” 

27 Moses stretched out his hand over the sea, and at daybreak the sea went back to its place. The Egyptians were fleeing toward it, and the Lord swept them into the sea. 

28 The water flowed back and covered the chariots and horsemen—the entire army of Pharaoh that had followed the Israelites into the sea. Not one of them survived.

29 But the Israelites went through the sea on dry ground, with a wall of water on their right and on their left. 

30 That day the Lord saved Israel from the hands of the Egyptians, and Israel saw the Egyptians lying dead on the shore. 

31 And when the Israelites saw the mighty hand of the Lord displayed against the Egyptians, the people feared the Lord and put their trust in him and in Moses his servant.

[thatkidfromegypt]

[ahmedmidostyle]

واحد من اقوى الاسكنرات الموجوده بالأكاديمية مش هتلاقيها ف اى مكان تانى.

لو مهتم تعرف عن المجال وازاى تقدر تتعلمه صح وتعمل منه ارباح كويسه جدا منه ابعت رساله وهيتم الرد عليك بأقرب ميعاد.

[atlastv]

"NIGHTMARE Egypt Food Tour!! POLICE Shut Us Down!!"

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[sarahghetti]

direction to perfection; j.l.

pairing: jake lockley x reader, marc and steven are briefly alluded to but do not make an appearance

summary: one day, your vigilante lifestyle leads to you to crossing paths with a moon-serving weirdo in white bandages. jake promises that he won't get in the way, but there's something about his smirk that has your spidey-sense tingling, and what do you know—

he sets a building on fire.

it's not supposed to be romantic.

warnings: depictions of fighting and violence, injuries, hurt and comfort, reader is a spider-person and thus has a spider-person sense of humour😭.

word count: 3.8k

notes: part of the @MOONKNIGHT-EVENTS bingo! prompt: “'bonfire”

MOON KNIGHT MASTERLIST | ALL MASTERLISTS

You have a love-hate relationship with your spidey-sense—it’s useful enough to give you a heads-up, but it’s not exactly a get-out-of-danger-free card.

It kicks in as you’re soaring through the air, an errant pulse in your veins that tells you one thing: MOVE. But there’s no time—before you even manage to lift your web-shooter, one of Doc Ock’s mechanical arms whips around and collides hard against your torso. For a moment, you feel your ribs crack underneath the metal, the sharp pains accompanied by a real stupid thought, even by your standards: guess I’m going to call in sick tomorrow—

—and then you finally hit the brick wall behind you. The air is ripped from your lungs and your thoughts short-circuit into nothingness. New York’s evening rush hour is drowned out by high-pitched ringing. If it weren’t for your wallcrawling ability, you’d be falling forty stories down onto the traffic below. Instead, rooted into the small crater you’ve made into an office building, all you can do is languish in what surely must be multiple broken bones and a slightly bruised ego for not being able to dodge a hit that you saw coming.

Speaking of—there’s another one heading towards you right now.

You leap upwards without a second thought, just narrowly avoiding becoming a shitty claw-machine prize as the arm lodges into the wall where your head used to be. Spots dance across your vision and you groan—your body does not want to move.

Suspended between two buildings, Doc Ock’s mechanical arms dig into concrete and brick as she follows you up. Her voice is deceptively empathetic. “Down so soon, little spider? I expected more from you!”

One of the arms rears back again but distantly, there’s the clench of a trigger—and it gets pinned behind her by a golden grappling hook.

The wire grows taut then there he is, using the reeling mechanism to lunge upwards. All the momentum is channeled into his crescent blade as Jake jams it between the plates of the trapped arm; it jerks like a wounded animal, suddenly uncoordinated and stiff. When it lashes out again, he easily dodges and jumps across the buildings onto the fire escape next to you.

“Mierda! You okay?”

Glowing white eyes, wide with concern—the sight is enough to shake you out of your concussive stupor. Jake extends a hand, and you take it readily, allowing him to help you up onto the rickety platform.

“Just peachy,” you wheeze as you lean almost your entire body weight against him.

This was supposed to be a simple mission. It wasn’t even supposed to be a mission in the first place, but one detained drug dealer led to another, which led to a smuggler and a mercenary and a goddamn gym teacheruntil you were faced with a whole corrupt laboratory that tied back to Doc Ock’s operations.

Jake got looped in somewhere between the mercenary and the gym teacher, apparently answering some kind of divine calling of his own. Egyptian god of the moon? Protecting travelers of the night? You just call the people you save New Yorkers, no fancy labelling here.

But you’re not so prideful as to turn away help when you need it, especially when it comes gift-wrapped in superhuman strength and a bullet-proof cape. Even though you catch him giving himself these looks in the windows you pass by or having whole conversations to himself under his breath—you’ve seen weirder.

Like now: There’s a clear conflict happening in—on?—Doc Ock. The damaged arm flails wildly through the air, and the other three can’t seem to decide between trying to calm it down, retreat, or kill you.

Those white eyes turn to you. “Sure you don’t want me to shoot her?”

“No!” Now you remember why you were initially wary of him—because when you first met, he was holding one of his blades to a lackey’s throat. Danger, danger! You didn’t even need your spidey-sense to tell you that; he wears the warning like a badge of honour. “We just need to subdue her till the cops come. Follow my lead.”

Jake gives you a mock salute. Fortunately, Doc Ock’s lab was deserted—except for her—when you crashed the place. Whatever supersecret bioweapon she’s cooking up will still be waiting for you to destroy it after you capture her.

With just one press of a button, you’re soaring back into action. The arms seem to have coordinated themselves again—having decided to kill you, how lucky—but so have you and Jake. One lunges towards you, and you pull upwards on your web, going feet over head as you as you flip backwards out of the way.

In that split-second moment when you’re fully upside-down, your arm extends downwards and thwip!—your web attaches to the titanium plating. The world realigns itself, and your momentum carries you in an arc below the arm, dragging it behind you as you continue in your original direction.

As soon as you land on the side of the opposing building, you yank hard. Immediately, your other hand comes up to shoot a dozen or so webs to attach the claw onto the wall. It won’t last—the brick is already crumbling under the force—but it gives Jake enough time to shake off Doc Ock’s attention and join you.

Closer than you were before, you can see just how much force it takes for him to drive his blade through the circuitry. Sparks burst like little fireworks around his hand. He makes it look easy, but a shudder crawls down your spine—you just know what he’s capable of.

You both leap out of the way as the arm thrashes erratically; Doc Ock cries out in frustration. That’s two arms down, and two that are busy suspending her in the air. You’ll have to catch her once you take out another one, but that’s no biggie.

“Jake!” You gesture towards the nearest arm, and he nods in understanding. Despite the pain radiating through your limbs, you grin. For all his snark and murderous tendencies (which you hope are just a joke), he’s a half-decent partner.

It’s too bad, then, that Doc Ock doesn’t seem to care about how good of a time you’re having. Her mouth twists into a snarl, and in a blink of an eye, she’s scrambling away. Retreating? Your poor, bruised head is hopeful for the night to end.

In a way, it’s right—she is trying to get away from you. Unfortunately, it also recognizes that she’s retracing your steps, right back to the lab where you first found her.

“Oh, damn it!”

Your injuries and Jake’s limited modes of superhuman transport make it impossible to gain any real ground as you chase after her. Doc Ock climbs through her shattered window half a minute before you do, and even if your conscious mind doesn’t realize it, some part of you does—it’s an ambush.

You dive to the ground just as a mini fridge is thrown in your direction. Pain shoots down your side, your vision blurring with tears. The sheer wave of nausea that washes over you makes your mouth water and fuck, you might actually puke like this.

There’s something else coming but you can’t do anything other than half-heartedly roll behind the nearest object. The workbench shields you from—what, a chair? You aren’t afforded anymore time to think about it because she rips off the counter next, several important-looking valves raining down around you. Through the noise, you just barely manage to pick up a quiet hissing in the air as you try to gather your bearings.

A line of workbenches down the centre of the room, an aisle on either side.

On the right: sinks and fume hoods.

On the left: whiteboards.

Directly in front of you: the absolute bane of—and possible end to—your existence, holding up that chunk of black countertop as if it were a hammer and you are a nail.

You brace yourself for the hit, but it never comes. There’s a surprised yelp from above you, and your peer through your arms at just the right time to see Jake land a brutal kick into Doc Ock’s chest, sending her flying. You don’t see her land, but you do hearit; equipment crashes to the ground, glass shattering on the linoleum.

With a hand from Jake, you’re back on your feet. Doc Ock is reeling at the far end of the room. The walls are littered with long, deep gashes—some from your initial confrontation with her, some likely from her mechanical arms flailing from Jake’s hit. Several of the fume hoods are missing their windows entirely, which definitely bodes ill considering that there are still chemicals in some of them.

Gritting your teeth, you somehow manage to get the words out, “Just stand down, Olivia!”

A hand is clutched at her side, and some petty part of you hopes that her ribs are broken too. “This isn’t over.”

You gesture to her mechanical arms, two of which are still malfunctioning like headless chickens, then to yourselves, who are (mostly) in one piece. “Well, it sure is about to be.”

She raises her eyebrows at Jake. “You raid a Spirit Halloween and suddenly think you can defeat me?”

“Yeah, sure, let me just take fashion advice from someone cosplaying as an octopus.”

Jake leans towards you. “Do you always talk this much?”

At that, Doc Ock’s eyes narrow, filled with determination. She’s not backing down this time, which means neither can you.

You both ready yourselves like you have countless times before, straightening your stance and setting your shoulders back. But Jake doesn’t show the same patience. No—he sees the remaining mechanical arms twitch in preparation, and a blade is already leaving his hand with deadly-precise aim.

Wait, wait, the hissing sound—the gas—

“Get down!” You ram your body into Jake’s, bringing you both to the ground as the blade makes contact with the titanium, sparks flying out and—

BOOM.

It’s like your heart stops.

For several moments, you don’t register anything at all. You aren’t even sure if you’re still breathing.

Slowly, your senses return. The scent of burning plastic invades your nostrils—even the air tastes like it too. Something’s landed on top of you, pinning you down with a surprising amount of strength. Warm and sturdy and pressing into all the wrong places, but you can’t even hear your own whimpering—there’s nothing but ringing in your ears.

Are your eyes closed? You can’t bring yourself to check. All you can do is try to remember how to live, and figure out what the hell is happening.

Your spidey-sense has gone quiet. That’s—that’s good. Hopefully. Or maybe it’s just been knocked out of you by the blast. You let that last thought get washed away into the muddled mess of your head; you could probably use a bit of positive thinking right now.

Everything hurts. That’s been true for the past hour, really, but there’s no gut-wrenchingly painful burn anywhere on your body like what you expected from a lab explosion. The closest thing is just that warmth against your back, in a thick arm across your chest, and encircled around your wrist, where it lingers along your pulse point.

Something brushes up against your cheek, roughly textured but trying to be so, so gentle. Words start to pierce through the hearing damage. “—estás bien, te tengo. No te preocupes, estás bien.”

“Jake?” Your voice comes out small and tinny, unsure of how loud to speak when everything sounds like it’s underwater. You receive an affirmative rumble, and the tension seeps out of your limbs, just a tad.

Tentatively, you open your eyes. And there’s—nothing. Just a white sheet of fabric covering your entire field of view. Jake huffs out a laugh at your confusion before finally standing up, his cape pulling back from where it was draped on top of you.

“Oh.”

It’s like a bomb went off. Nearly every surface has been scorched black, save for the perfectly untouched flooring around you where Jake shielded you both from the blast. Any equipment in the room has been reduced to pieces—if not completely combusted into ash and soot—and fires still linger despite the efforts of what’s left of the sprinkler system.

No sign of Doc Ock anywhere—she must’ve gotten away. Jake lets out a long string of curses under his breath, then finishes it off with an eloquent: “Fuck.”

The fire alarm is incessant, and the sprinklers have all but drenched your suit. If you had half a working brain left, you’d feel the shivers wracking your body and realize that you’re still bleeding out in several different places, but the only thing that crosses your mind is how tired you are.

You throw your mask off with a groan. The sirens in the distance only add to your growing headache. So close, you were so close this time.

“Come on.” Jake’s stands over you, mask retracted, and you can see the grimace on his face from how the mission turned out. Wordlessly, he offers to help you up, and is promptly ignored. He keeps his hand extended towards you, shaking it a little for emphasis, but you refuse to budge.

That is, until your mind so helpfully strays and wonders—how big was the blast?

Your eyes widen, and your body jerks upright as though electrocuted. Oh, God—you didn’t see anyone else in the lab other than Doc Ock when you arrived, but what about the other floors? What about the pedestrians on the sidewalk below, who might’ve had glass and debris rained down upon them when the windows were blown out?

It takes several tries to get to your feet, none of which are entirely successful because Jake has to intervene halfway through to hold you upright. Your second wind catches him off-guard and his brows furrow as you try to leap back into action. “Whoa—talk to me, bug. What’s happening?”

“Need to—” You try to shrug him off. His grip loosens for all of a moment before you’re stumbling again, and then he returns, as firm and steady as ever. “Was anyone hurt?”

“You.”

“Not what I meant,” you scowl. It’s thoroughly ineffective. The only response you get is a subtle tilting of his head, then a loss of his undivided attention as he listens to something—someone—in the room that you aren’t privy to.

His gaze flickers back to you, marginally softer. “No one else was hurt. You need to rest.”

You don’t dignify that with a response. What’s the point of superhealing if you can’t bounce back after a fight? This time when you struggle against him, Jake lets you go, crossing his arms as you limp around the room.

Fortunately, most of the smoke is being pulled out the windows; what’s left is enough to burn and scrape down your larynx, but you push through it. Doc Ock has to have left some kind of trace—if not during her escape, then in the work she left behind. But kicking around in the ashes yields nothing. There’s no conveniently placed folder full of evil plans, or vial labelled SUPER SECRET BIOWEAPON (ONLY COPY - NO NEED TO SEARCH ANY FURTHER).

Jake sighs. “What are you looking for?”

What are you looking for? The building is still on fire, for Christ’s sake—you should have been gone ten minutes ago. Still, your stubbornness is steadfast. “There has to be—something.”

He sweeps out an arm, gesturing to the resounding nothing around you. With wet curls stuck to his forehead, his tone veers on sardonic. “Oh? Your little spider-sense tell you that?”

“Spidey, and—and it’s not a radar, I can’t just turn it on,” you bristle. His ensuing snicker lands all wrong, and your mouth twists into a scowl. “Funny, is it? Blowing up a building?”

“Hey.” The lightness disappears from his expression. “How was I supposed to know about the gas leak?”

It’s a valid question. Still, the anger in you can’t help but flare up anyways, running on his words as if they were diesel. You bite back a retort at the last second, which isn’t enough because the resulting silence is accusatory in and of itself.

He takes a step towards you, chin raised as water continues to rain down on you both. Solid, sturdy—unyielding. The sight twists your stomach into knots, but you stand your ground, placing your hands on your hips even though it pulls painfully at a handful of your muscles. “Shit happens, bug. It’s no one’s fault—well, maybe a bit my fault, but—”

“I had her.” It’s a blatant lie, but full of conviction as it leaves your lips.

He’s nothing short of incredulous. “Did you?”

“Yes—”

Faster than your hazy mind can register it, his hand shoves at your shoulder. Not hard, but it didn’t need to be—you practically crumple, hands scrambling to find something to hold on to before you land flat on your ass, but Jake wraps an arm around your waist, steadying you.

You swat at his chest. You hate that his warmth is familiar. “Let me go.”

He counters: “What’s wrong?”

“You, asshole.”

“’m the bad guy now? You want a fight that bad?” His eyebrows cock upwards, regarding you like some unruly child.

He’s being inflammatory on purpose and it’s working. You’re an elastic band in his fingers, one that he keeps stretching and stretching and stretching until you snap. “I don’t want a fight, I want a—”

Win, you almost admit. You wanted a win, after all this time you’ve spent chasing after Doc Ock. Countless sleepless nights and lackeys thrown behind bars, only to fail in the final moments when it really mattered. The realization is debilitating, even in the confines of your own head, and so you lash out again, distracting yourself from the bitterness on your tongue by spewing it out instead.

“We’re not all out for blood, you know.” Then, because you can’t help yourself— “I’m not you, Jake.”

“Is that what this is about?” His hand tenses almost imperceptibly against your back, but you manage to catch it. Of course you do, with every sense on high alert, blood rushing in your ears. “You mad ‘cause I’m a killer?”

Something dangerous underlines his tone when he says the word and you flinch, trying to create some distance between the two of you on instinct. Jake doesn’t grant you that—his other arm comes to hold you as well, pulling you in even though you think you might suffocate in his presence.

“You knew this from the start. Don’t tell me you’re going to try to turn me in now.”

“Maybe I should,” you say in a rush, gaze steely as it meets his. For all your superhuman powers, none give you the ability to read what’s going on behind the storm in his eyes. You’re so close, you can almost feel the heat radiating off his skin, hear the words in his mouth before he even says them.

“You’re the one with the spidey-sense.” His voice is low. Somewhere in the back of your mind, through the shame and anger and desperation—you note that he’s called it by the right name this time. “You tell me. Am I a threat?”

Your heart is beating a mile a minute and your stomach is all fluttery and weird but—no. There’s no tingling at the back of your neck, no hair-raising along your arms. Petulance makes you want to lie and say yes anyways, but you can’t bring yourself to form the words. It just… isn’t true. And for some reason, you have feeling that this would be going too far, even as a rash potshot.

When you don’t respond, Jake’s expression softens, the lines of his face giving way to an understanding look that makes you feel smaller than his antagonism ever could. The fires have mostly died down now, but warm reds and oranges still flicker along the side of his jaw, in corners of his irises. His arms feel less like a cage and more like a lifeline, keeping you from drifting out to sea.

“Just—thought I finally caught her,” you mumble, and he pulls you the last few inches into a proper hug. Exhausted, you let yourself melt into his arms, the adrenaline beginning to seep away despite the cacophony of sirens in the background. “It’s been so long, Jake.”

“I know.” He doesn’t, not really—you haven’t divulged just how far this rivalry goes, but you don’t have to think very hard to realize that he’s speaking from experiences long before he ever met you. “We’ll get her next time.”

You snort softly into his suit. “What, you staying?”

It’s silly, the tinge of hopefulness that laces your voice just minutes after you’ve essentially accosted him. But Jake’s grinning when you pull back to look at him, all boyish confidence, and you nearly forget to breathe. “I could be convinced.”

Wait—what? He’s thrown you off-kilter. You—you didn’t think he’d actually— “Well—!”

At your stammering, he lets out a laugh, throwing back his head. It’s a wonderful sound, and when you flick his arm in response, there’s no real force to it.

“Well, you know what they say,” you sniff, trying to maintain your composure. “Friends close, enemies closer, and all that.”

“Right, right,” he nods gravely. The effect is severely diminished by the crinkles at the corners of his eyes. Keeping one arm around you, he starts to lead you towards an exit. “Don’t know how you’ll handle it—your spidey-sense going off all the time with me around.”

On the way out, he picks up your mask from where you discarded it, slapping it a few times against his leg to brush off the soot and ash. His own mask and hood come up to envelope his face as he hands it to you. Distantly, you wonder how his glowing white eyes would look in the dark. Probably a bit stupid, is your conclusion.

“I’m sure I can manage,” you sigh, and once you slip on your mask, he gives you a little pat on the head before you can bat him away. Jake leans away enough to avoid your attempts to tug at his hood, but at the next opportunity, he reaches over again, the little shit, hand drawing in close, and your spidey-sense, superhuman and extraordinary, it’s—

It’s never been quieter.

[yammyyyy]

[the-mortuary-witch]

SATANISM INFO

WHAT IS THEISTIC SATANISM?

Theistic Satanism, otherwise known as traditional Satanism, is a religion where we worship one or more supernatural beings. Our major deity, Lord Satan, is often viewed as a father/brotherly figure. Although, some theistic Satanists actually believe in a version of the Egyptian God “set”.

Regardless of which one you believe in, none of them resemble the Christian Satan (we do not worship the biblical Satan). They both share the qualities of the symbolic Satan, which are sexuality, pleasure, strength, and rebellion against Western mores. Satan as an entity can be found all throughout Paganism as several different Gods.

The same role, the same realm, etc. He also traces back all the way to the Egyptians. The term “Satan” originated in Judaism as a title for those who were opposers and accusers, many people held that role, not just one. The role can also be seen throughout different Pagan Gods as well. Many demons hold the role of a Satan, there is not just one. They are not all abrahamic and certainly are not evil.

Theistic Satanists follow a more Pagan lifestyle, as it is considered a Pagan religion. Therefore, the Satan we follow also has Pagan aspects. Not biblical whatsoever. Worshipping the biblical Satan and believing he is not evil is actually Diabolism, not Theistic Satanism.

Theistic Satanists never have and never will worship the biblical Satan.

Don’t listen to anyone who says we do and that there is “only one” Satan. They’re very uneducated.

WHAT IS ATHEISTIC SATANISM?

Atheistic Satanism, otherwise known as LaVeyan Satanism, is an atheistic branch of Satanism made in 1966, where you do not believe in a supernatural being, rather they view Satan as a symbol. There is no God nor Satan, the only “God” is the Satanist themself.

Atheistic Satanism is a religion that questions authority, stands up for the truth and fights for justice.

Atheistic Satanism also takes part in magic and rituals of self-empowerment and therapy (not everyone does, but many do). As defined by LaVey, Satanism is celebration of the self. It encourages people to seek their own truths, indulge in desire without fear of sociable taboos and perfect the self.

UNDERWORLD GODS:

• Cerberus: Hound of Hades, guarded the gates of the Underworld and prevented the escape of the shapes of the dead.

• Charon: ferryman of the dead.

• Cronus: King of the Titanes, and the hod of time.

• Erinyes: three goddesses of vengeance and retribution.

• Hades: King of the Underworld and god of the dead.

• Hecate: hoddess of magic, witchcraft, the night, moon, ghosts, and necromancy.

• Hermes: the guide of the dead who led souls down to the Underworld.

• Hypnos: god (or Daimon) of sleep.

• Moirai: three goddesses of fate.

• Nyx: the goddess of the night.

• Persephone: Queen of the Underworld and goddess and spring growth.

• Thanatos: god (or Daimon) of non-violent death.

FAQ:

HOW CAN I ASK A DEITY RESPECTFULLY THAT I WOULD LIKE TO WORK WITH THEM?

To ask a deity respectfully that you would like to work with them, you could say something like this:

"Dear (deity's name),

I have heard great things about you and feel a connection to your energy.

I am seeking guidance and knowledge, and I was wondering if you would be willing to work with me?

If you are interested, please let me know what I need to do to establish a connection with you.

Thank you for considering my request,

(Your name)."

After you have written the note, you can either keep it as a record of the prayer or dispose of it in a way that demonstrates respect and gratitude. If you decide to keep it, you can place it in a special box or file to keep as a reminder of your connection with the deity. For disposal, you could burn the note as an offering to the deity, to represent sending the message with your intention and energy. Or, you could bury the note in the ground, as a way of returning it to the earth and giving thanks for the energy and guidance you received.

IS THERE A TIME LIMIT TO LEAVING OFFERINGS OUT FOR DEITITES?

There is no specific time limit for leaving offerings out for deities. You can leave offerings for as long as you feel that they are needed or wanted, and then take them away when you feel the connection has been made or when you feel it has run its course. It's important to be respectful of the deities and to approach offerings with the intention of connecting with them rather than simply "paying tribute." As long as you're mindful and respectful of the deities and their energies, you can leave offerings for as long or as short a time as you wish.

DO I NEED TO ASK EACH DEITY IF THEY WOULD LIKE TO WORK WITH ME BEFORE PRAYING TO THEM?

It's not necessary to ask each deity if they want to work with you before praying to them. However, it can be a good idea to do so out of respect and as a way of establishing a connection with them. Each deity has their own personality and energy, and different deities may be more or less willing to work with you based on your compatibility and their own interests. By asking first, you're showing consideration and respect for the deity you're wanting to work with, and they may be more likely to respond positively to your request.

CAN I USE ONE ALTAR FOR PRAYING TO MORE THAN ONE DEITY?

Yes, you can absolutely use one altar for praying to more than one deity. Each deity has their own energy, but using one altar is a convenient way to streamline the process. By having one altar, you can create a space for all your deity work, saving time and effort on setup and cleanup. Additionally, you might find that the synergy of multiple deities on one altar provides an even greater connection between you and the deities you're working with.

CAN I PRAY TO MORE THAN ONE DEITY IN A DAY?

You can absolutely pray to more than one deity in a day. Each deity has their own energies, so it can be beneficial to invoke different deities at different times for different purposes. For example, you might pray to Lucifer in the morning to gain strength and confidence, and then pray to Lilith in the evening to gain insight and inspiration. There's no right or wrong way to work with different deities, so feel free to experiment and find what works best for you.

DO I ALWAYS NEED TO GIVE OFFERINGS TO DEITIES I WORK WITH?

No, you do not always need to give offerings to the deities you work with. It's a matter of personal preference and the individual relationship you have with the deity. Some people give offerings to establish a connection and build a relationship of respect and reciprocation. Others may have a different arrangement with deities that may not involve offerings, such as exchanging energy or favors. Ultimately, it is up to you and the deity to determine what arrangement works best for both of you.

DO I HAVE TO USE A HAND SIGN WHEN PRAYING?

Some people feel that using a hand sign or gesture when praying to a deity can help you to better connect with their energy and express your intentions. However, it's not a requirement. The important thing is to make sure that you are being sincere and genuine in your prayers. The deity you are speaking to won't require any specific gestures from you, so focus on communicating your true feelings and desires.

CAN I USE THE SAME OFFERING BOWL FOR OFFERING STUFF TO MANY DIFFERENT DEITIES?

Yes, you can absolutely use the same offering bowl to make offerings to multiple deities. This is quite common and can be a respectful way of showing gratitude to multiple deities or expressing your devotion to a variety of energies and forces.


When making offerings to multiple deities, it's important to keep in mind the differences in their energies and preferences. You should make sure to choose items that are appropriate and relatable to each of the deities you are offering to. You can experiment and see what combination of offerings seems to suit the different energies you are working with best.

WHAT DO I DO AFTER OFFERING A PHYSICAL OBJECT TO A DEITY THAT I CAN’T BURN, EAT, OR DRINK?

After offering a physical object to a deity that you can't burn, eat, or drink, you can keep the offering as a sign of devotion and appreciation. You could display the object on an altar or shrine dedicated to the deity, or place it in a special spot in your home as a reminder of your connection with them. The important thing is to show respect and gratitude for the deity's presence and influence in your life.

It's up to you whether or not you would like to cleanse the object after offering it. Some people believe that offering items to deities can create a spiritual connection or attachment between the deity and the object, and that a cleansing can help to reset the energy and clear out any negative energies that may be lingering. If you feel drawn to cleansing the object, it can be a good way to ensure that it is a pure and clean vessel for the energy of your deity.

WHAT CAN I USE TO CARVE A DEITY��S SIGIL OR RUNES INTO THEIR CANDLES?

• A sharp, pointy object such as a knife or pin.

• Sewing needle.

• Wood-burning pen or tool.

• A marker or felt tip pen.

• The edge of a metal object (e.g. a pen or paperclip).

• Paintbrush: to apply acrylic or oil paint for more elaborate designs.

• Small tool: You can also use a small chisel or carving tool to carve the shape of the sigil or rune into the candle.

WHAT CAN I USE TO CLEANSE AN OBJECT?

• Moonlight: exposure to moonlight can be a powerful way to cleanse an object of negative energy.

• Natural cleaning agents: you can use natural cleaning agents such as salt water or herbal infusions to cleanse an object.

• Smoke: burning incense or white sage is a common way to clear negative energies and cleanse objects.

• Sound: you could also use sound such as bells, chimes, or chanting to help remove any unwanted attachments to the object.

• Energy clearing: some people utilize reiki or other forms of energy clearing to remove negative energies from an object.

• Burning herbs or sage (or other cleansing materials): is a common and straightforward way to cleanse and purify an object.

• Sound cleansing: playing certain tones, mantras, or frequencies to cleanse is a simple and effective method.

• Water cleansing: spraying water or soaking an object in purified water is a simple and effective way to cleanse and purify it.

• Crystals: using crystal energy and/or placing crystals on or around an object is a unique and effective way to cleanse and purify it.

HOW CAN I TELL IF SOMETHING IS A SIGN FROM A DEITY OR IF IT’S JUST A COINCIDENCE?

• A physical sensation or feeling: when you pray or meditate and experience a physical sensation or feeling that feels distinct or out of the ordinary, it could be a sign from a deity, especially if the feeling is unexpected or unaccounted for.

• An unexpected event or occurrence: sometimes, something unexpected or out of the ordinary can be a sign from a deity.

• Change in energy or vibe: if you notice a noticeable shift in the atmosphere or energy of the space, it could be a sign from a deity, as energies can be very strongly felt and can often be very distinctive.

• Sudden synchronicity or coincidence: when you notice something that feels too uncanny or too specific to be just a coincidence, it could be sign from a deity, as they often communicate through synchronicities and meaningful coincidences.

• Unexpected thought or feeling: when you experience an unexpected thought or feeling that feels out of place or unusually strong, it could be a sign from a deity.

HOW TO RESPECTFULLY DISPOSE OF A BURNED OUT CANDLE THAT WAS USED FOR A DEITY?

When you have burned out a candle that you used for a deity, you can dispose of it in multiple ways, depending on your personal beliefs and practices. You can either bury it in the ground, recycle it and dispose of it as a normal candle, or discard it in a ritualized manner. It's important to take into account the candle's symbolism and your relationship with the deity you used it for. This will help you decide on what disposal method is right for you and your practice. Ultimately, it is up to you to decide how to dispose of the candle properly and honor the deity.

CAN I LIGHT ALL MY DEITIES CANDLES AT ONCE?

Yes, you can light all of your deities candles at once. It is appropriate to honour each deity in their own way, and lighting candles is a common way to dedicate offerings and prayers to your deities. You can either light each candle individually, with a specific prayer or dedication to each deity, or you can light all of the candles together with a single prayer or dedication for all of the deities collectively. The choice is up to you and how the candles resonate with you and the deities that you seek to connect with.