The Children of Agni

Now, in the 16th Chapter of the "Galactic Warfare" Series I dive into several topics based on the Gods and their influences. So, based from the previous Chapters I had dealt with the God of Death Masau'u and his numerous epithets throughout the Mythos, and also the Goddess Itzapapotl, how these blood and human sacrifices is shown throughout the religions of today.

So, I can get people not jumping aboard the idealogy of the "Garden of Eden" being Mars (and that is fine, and why you should do your own research as well), but as I was learning about the connections of Mars and Antarctica, it all starts to make sense as to how the Evolution of Mankind came about. I can admit that this threw my research into this direction, but it seems that it has to be revealed regardless of ones religious aspect of creation.

Hence, even Sadghuru had detailed the same information on one of his "Shiva and the Alien connection" videos. He had stated on the sudden jump of mankind on Earth by the Gods, and how he states that Shiva would have strange looking friends. This shows that that whenever people look up in the Sky and say God is there, then you should know that it's not some cloud Kingdom as shown in the Christian ideaology, but the vast Universe teeming with life itself.

Perhaps it's hard to swallow for some, but as far as research goes, there were different forces that came down from the Heavens and started their versions of life on Earth. I can understand in one of Jordan maxwell's videos based on Genesis interpretation, and that is on the statement of "let us make man in our image", means that "man" was already here on Earth before these different groups came. This is where I had stated in "Galactic Warfare 10, 11, and 12", as the knowledge of the "Black stone" falling from Heaven and starting the Evolution of man, connects to what some of these Movies are trying to tell the audience.

Then when breaking down the story of the Garden of Eden, just shows that there is a significance of repetitiveness of symbolism, meaning that much of these is not literal, but is to be understood on the esoteric level. Remember the story of the Garden of Eden is based on two races, in which one are the Devas and the other are the Asuras (sometimes they are generally put as the same race). Just to recap, the one called "Adam" would be the progenitor of the Asura race, and based from this shows the "7th" son Enoch being taken up to live with the Gods and become immortal. Again, this is merely the story of Sun Wukong, Loki, Agni, Prometheus, Thoth, to Iblis as the one who lived with the Gods. 

Now, it also shows that there were other entities and races that were there as well. Before connecting the dots together I would state the "Preadamite" races, as there were other Civilizations and Kingdoms, and thinking that the Jinn race lived before Adam, I had thought that this race would be before Adam, but as it turns out the Jinn race are the Adamites. This is further explained in Madame Blavatsky's book "The Secret Doctrine" in Chapter "Origin of the Satanic Myth pg390", as she states that Noah and his descendants were "Atlanteans", who in other words were the "Kabir", the "Titans", the "Demons", "Asuras" or "Jinn". 

So, when the Bible states that there were Giants on the Earth, and that the Sons of God came to the daughters of men and had children (These "men of renown" would be the Gods' children of Greek and other Mythos). If this took place in Atlantis, then this must have taken place on Mars prior to it's destruction. It seems that during this age it was called "The Golden age of Saturn", to which Mars as an Earthlike Planet was full of life before the destruction.

Now, based on these Entity's appearances, the same was said about the Hindu God Shiva as we are generally shown a red haired God in his human appearance, however, in the Masau'u Chapter ("Galactic Warfare 13") describes this God to looking like a Skeleton and having a enlarged head.

Then to see that this God is also known as the Lord of the Dead, and would be the one to be a fertility God (as seen in Jacob's dream), shows that these images are just a soft approach to their real looks. So, to find that Shiva's "friends" would be these Ghouls, Ghost and other monsters, all seems to connect to the Paranormal activities and cryptids that people love to learn about.

And then there is the God of fire Agni/Azazil, who is said to have battled against the ghouls, ghost, monsters, Giants and evil spirits, as this legend is also shown in the Islamic, Asian and Native American Lore. If the God of fire was battling these entities, then it shows that they would have a hatred for this particular God.

If the God of fire is Iblis, and is the one who fought against the Jinn race for their chaotic nature, and Iblis is Enoch who is the "7th" son of Adam, then this will tell me that Adam's descendants are not human, and based from these religious interpretations on mankind coming from Adam, reveals to not be true. Based from the God of fire's description details much of what the reader needs to know, and that is because Adam is the progenitor of the Asuras, then they would be a demon race.

Here the God of fire had stated to the Aryans to not cut themselves for the Dead. Deuteronomy 14:1 “Ye are the children of the LORD your God: ye shall not cut yourselves, nor make any baldness between your eyes for the dead.” So what does this mean to not make any baldness between your eyes? I would think that when looking up the "Origin of the Bindi", there would be different perspectives based on it's usage, whether in weddings, Pujas, to the symbolism of the red, yellow and white bindis. Then there were statements of the Ancient practice of having a bindi was in the usage of a blood sacrifice to appease the Gods. Now, I try to find more information on this, but much of it doesn't go further than this.

But as you see there were those that were cutting themselves to the Gods of the Dead, or namely the Gods of the Underworld. This is where we will learn about the land of "Xibalba" or the land of the dead. So, let's see what "Xibalba" states in the Wiki: "Xibalba, roughly translated as "place of fright", is the name of the underworld (or K'iche': Mitnal) in Maya mythology, ruled by the Maya death gods and their helpers. In 16th-century Verapaz, the entrance to Xibalba was traditionally held to be a cave in the vicinity of Cobán, Guatemala. Cave systems in nearby Belize have also been referred to as the entrance to Xibalba. In some Maya areas, the Milky Way is viewed as the road to Xibalba."

"Xibalba is described in the Popol Vuh as a court below the surface of the Earth associated with death and with twelve gods or powerful rulers known as the Lords of Xibalba. The first among the Maya death gods ruling Xibalba were Hun-Came ("One Death") and Vucub-Came ("Seven Death"), though Hun-Came is the senior of the two."

"The remaining ten Lords are often referred to as demons and are given commission and domain over various forms of human suffering: to cause sickness, starvation, fear, destitution, pain, and ultimately death."

"These Lords all work in pairs: Xiquiripat ("Flying Scab") and Cuchumaquic ("Gathered Blood"), who sicken people's blood; Ahalpuh ("Pus Demon") and Ahalgana ("Jaundice Demon"), who cause people's bodies to swell up; Chamiabac ("Bone Staff") and Chamiaholom ("Skull Staff"), who turn dead bodies into skeletons; Ahalmez ("Sweepings Demon") and Ahaltocob ("Stabbing Demon"), who hide in the unswept areas of people's houses and stab them to death; and Xic ("Wing") and Patan ("Packstrap"), who cause people to die coughing up blood while out walking on a road. The remaining residents of Xibalba are thought to have fallen under the dominion of one of these Lords, going about the face of the Earth to carry out their listed duties."

Then based from the "Mayan death Gods" states these excerpts: "The Maya death gods, (also Ah puch, Ah Cimih, Ah Cizin, Hun Ahau, Kimi, or Yum Kimil) known by a variety of names, are two basic types of death gods who are respectively represented by the 16th-century Yucatec deities Hunhau and Uacmitun Ahau mentioned by Spanish Bishop Landa. Hunhau is the lord of the Underworld. Iconographically, Hunhau and Uacmitun Ahau correspond to the Gods A and A'."

"In recent narratives, particularly in the oral tradition of the Lacandon people, there is only one death god (called "Kisin" in Lacandon), who acts as the antipode of the Upper God in the creation of the world and of the human body and soul."

"This death god inhabits an Underworld that is also the world of the dead. As a ruler over the world of the dead (Metnal or Xibalba), the principal death god corresponds to the Aztec deity Mictlantecuhtli. The Popol Vuh has two leading death gods, but these two are really one: Both are called "Death," but while one is known as "One Death," the other is called "Seven Death."

"They were vanquished by the Hero Twins. The two principal death gods count among the many were-animals and spooks (wayob) inhabiting the Underworld, with the God A way in particular manifesting himself as a head hunter and a deer hunter. Ah Puch was banished after he broke his promise with the Maya king and was sent to the storm that would bring him to earth forever."

"Kisin is the name of the death god among the Lacandons as well as the early colonial Choles, kis being a root with meanings like "flatulence" and "stench." Landa uses another name and calls the lord of the Underworld and "prince of the devils" Hunhau, a name that, recurring in early Yucatec dictionaries as Humhau and Cumhau, is not to be confused with Hun-Ahau; hau, or haw, means 'to end' and 'to lay on its back (mouth up)'. Other names include Yum Kimil, "Lord of Death" in Yucatán and (Ah) Pukuh in Chiapas."

"The name Hun Ahau ("One Lord") appears frequently in the Ritual of the Bacabs, but is never specified as a death god. Ah Puch, though often mentioned in books about the Mayas, does not appear to be an authentic Maya name for the death god. (An Ah Puch is mentioned in the opening of the Book of Chilam Balam of Chumayel in passing as a ruler of the North, and one of the Xibalba attendants in the Popol Vuh is called Ahal Puh."

Classic Period: "God A During the Classic period, his abdomen is sometimes replaced with out-pouring swirls of blood or rotting matter. He is usually accompanied by spiders, centipedes, scorpions, a vulture, an owl, and a bat. He is pictured with jewelry usually on his wrists and ankles. On his lower extremity, he has around “molo” sign that putrid smells of death."

"Over his head is a floating object shaped like an “S” probably an insect carrying a torch. On his forehead like other deities of the underworld he wears an “aqabal” also known as an emblem of “darkness.” His head in Mayan culture was used to represent the number 10, the lower jawbone meant the numeral ten that was inscribed within all other head variants of the numbers thirteen to nineteen. He was often pictured as dancing and holding a smoking cigarette."

"On his neck is a death collar which consists of embodied eyes hanging by their nerve cords. The black spots on his body represent the decay of the flesh. Since he is a rotting corpse in some images he is shown with a bloated stomach."

Ritual: "Both God A and God A' figure prominently in the New Year rites depicted in the Dresden Codex. God A' probably corresponds to the death god Uacmitun Ahau in Landa's description of the New year rites. He presides over a year of great mortality. To ward off evil during this year, men would walk over a bed of glowing embers that possibly represented the fires of the Underworld. Temple priests would get in costumes of God A' and performed rites of bloodletting and human sacrifice. Those who impersonated this deity would dance out the steps of ritual sacrifice, putting terror in the soul of ritual participants and the spectators who witnessed these sacred events."

Here states this excerpt from the Mayan death Gods: "The two principal death gods count among the many were-animals and spooks (wayob) inhabiting the Underworld, with the God A way in particular manifesting himself as a head hunter and a deer hunter."

It's rather interesting that they state "were-animals", as I had mentioned the dogmen, goatmen, fishmen, and other Entities. This is what I had stated in the Previous Chapters on sightings in "Skinwalker Ranch" phenomenon, and other said UFO hot spots. I see paintings like these in the Islamic Art shown in the sameway as the others that have anthropomorphic features (below I will later detail the "Pet Semetary" references).

Based from "" states this: "Ancient Maya gods - 2) Death God Kimi (‘God A’) The ancient Maya pantheon consisted of many deities - some shared with other Mesoamerican peoples, others ‘add-ons’ from other cultures. Our main sources of information are the codices, early colonial documents, ceramics and mural paintings. A 19th century scholar, Paul Schellas, studied the gods in the three codices known at the time."

"In those days Maya hieroglyphs couldn’t be read, and he named the gods with a letter from the Roman alphabet - a system still in use today. We quote here from the excellent little British Museum Pocket Dictionary of Aztec and Maya Gods and Goddesses, in the second of a short series featuring some of the most important Maya deities..."

"Kimi*, the god of death, is the Lord of the Maya Underworld (Xibalbá), associated with death, war and sacrifice. Also known as God A, he is portrayed totally or partially as a skeleton - often shown with black spots to represent the decay of flesh. His aspect is sometimes terrifying, appearing in scenes related to executions. At other times he is shown as a grotesque and laughable figure, with an enormous belly. Kimi, the Death God, lives in the lowest of the nine levels of the Underworld. His companions are the owl and other creatures related to death and evil omens."

"The ancient Maya thought that people who had a violent death went directly to one of the thirteen heavens. Everyone else went to the Underworld, where the God of Death dictated their fate. The modern Maya from Yucatan (Mexico) still believe today that he creeps around the houses of sick people, waiting for a future victim. * Kimi is a Yucatec Maya name. The Death God is the Maya equivalent of the Aztec Mictlantecuhtli. In the Popol Vuh, the Death God is presented as two gods, defeated by the Hero Twins in the Underworld. (Ed.)"

Then here are some excerpts based on Mahakala: "Mahākāla is a deity common to Hinduism and Tantric Buddhism. In Buddhism, Mahākāla is a fierce form of Vishnu, While in Hinduism, Mahākāla is a fierce manifestation of both Shiva and Vishnu (Narasimha) and is the consort of the goddess Mahākālī; he most prominently appears in the Kalikula sect of Shaktism."

"Mahākāla also appears as a protector deity known as a dharmapala in Vajrayana, Chinese Esoteric, and Tibetan Buddhism (see Citipati), and also in the Chàn and Shingon traditions. He is known as Dàhēitiān and Daaih'hāktīn (大黑天) in Mandarin and Cantonese, Daeheukcheon (대흑천) in Korean, Đại Hắc Thiên in Vietnamese, and Daikokuten (大黒天) in Japanese."

Etymology: "Mahākāla is a Sanskrit bahuvrihi of mahā "great" and kāla "time/death", which means "beyond time" or death. Tibetan: ནག་པོ་ཆེན་པོ།, THL: nak po chen po means "Great Black One". Tibetan: མགོན་པོ།, THL: gön po "Protector" is also used to refer specifically to Mahākāla."

Description: "According to Shaktisamgama Tantra, the spouse of Mahakali is extremely frightening. Mahakala has four arms, three eyes and is of the brilliance of 10 million black fires of dissolution, dwells in the midst of eight cremation grounds. He is adorned with eight skulls, seated on five corpses, holds a trident, a drum, a sword and a scythe in his hands."

"He is adorned with ashes from the cremation ground and surrounded by numbers of loudly shrieking vultures and jackals. At his side is his consort symbolized as Kālī. Both Mahakala and Kālī represent the ultimate destructive power of Brahman and they are not bounded by any rules or regulations."

"They have the power to dissolve even time and space into themselves and exist as Void at the dissolution of the universe. They are responsible for the dissolution of the universe at the end of Kalpa. They are also responsible for annihilating great evils and great demons when other gods, Devas and even Trimurtis fail to do so. Mahakala and Kali annihilates men, women, children, animals, the world and the entire universe without mercy because they are Kala or Time in the personified form and Time is not bound by anything and Time does not show mercy, nor does it wait for anything or anyone."

"In some parts of Odisha, Jharkhand and Dooars, (that is, in northern Bengal), wild elephants are worshiped as Mahakala. Mahakala is typically black in colour. Just as all colours are absorbed and dissolved into black, all names and forms are said to melt into those of Mahakala, symbolising his all-embracing, comprehensive nature. Black can also represent the total absence of colour, and again in this case it signifies the nature of Mahakala as ultimate or absolute reality."

In China: "Mahākāla is mentioned in many Chinese Buddhist texts, although iconographic depictions of him in China were rare during the Tang and Song periods. He eventually became the center of a flourishing cult after the 9th century in the kingdoms of Nanzhao and Dali in what is now the province of Yunnan, a region bordering Tibet, where his cult was also widespread."

"Due to Tibetan influence, his importance further increased during the Mongol-led Yuan dynasty, with his likeness being displayed in the imperial palace and in Buddhist temples inside and outside the capital. The deity's name was both transcribed into Chinese characters as 摩訶迦羅 (pinyin: Móhējiāluó; Middle Chinese (Baxter): mwa xa kæ la) and translated as 大黑天 (pinyin: Dàhēitiān; lit. 'Great Black Deva', with kāla being understood to mean 'black'; M. C. (Baxter): dɑH xok then)....."

"In some texts, Mahākāla is described as a fearsome god, a "demon who steals the vital essence (of people)" and who feeds on flesh and blood, though he is also said to only devour those who committed sins against the Three Jewels of Buddhism."

"One story found in the Tang-era monk Yi Xing's commentary on the Mahāvairocana Tantra portrays Mahākāla as a manifestation of the buddha Vairocana who subjugated the ḍākinīs, a race of flesh-eating female demons, by swallowing them. Mahākāla released them on the condition that they no longer kill humans, decreeing that they could only eat the heart - believed to contain the vital essence of humans known as 'human yellow' (人黄, pinyin: rénhuáng) - of those who were near death."

"A tale found in Amoghavajra's translation of the Humane King Sūtra relates how a heterodox (i.e. non-Buddhist) master instructed Prince Kalmāṣapāda (斑足王) to offer the heads of a thousand kings to Mahākāla, the "great black god of the graveyard" (塚間摩訶迦羅大黑天神), if he wished to ascend the throne of his kingdom."

"As time went by, Mahākāla also became seen as a guardian of Buddhist monasteries, especially its kitchens. The monk Yijing, who traveled to Srivijaya and India during the late 7th century, claimed that images of Mahākāla were to be found in the kitchens and porches of Indian Buddhist monasteries, before which offerings of food were made:

"There is likewise in great monasteries in India, at the side of a pillar in the kitchen, or before the porch, a figure of a deity carved in wood, two or three feet high, holding a golden bag, and seated on a small chair, with one foot hanging down towards the ground. Being always wiped with oil its countenance is blackened, and the deity is called Mahākāla [莫訶哥羅, pinyin: Mòhēgēluō, M.C. (Baxter): mak xa ka la] or the great black deity [大黑神, pinyin: Dàhēishén, M. C. (Baxter): dɑH xok zyin]."

"The ancient tradition asserts that he belonged to the beings (in the heaven) of the great god (or Maheśvara). He naturally loves the Three Jewels, and protects the five assemblies from misfortune. Those who offer prayers to him have their desires fulfilled. At meal-times those who serve in the kitchen offer light and incense, and arrange all kinds of prepared food before the deity. (...)

"In China the image of that deity has often been found in the districts of Kiang-nan, though not in Huai-poh. Those who ask him (for a boon) find their wishes fulfilled. The efficacy of that deity is undeniable."

"In China, the god was also associated with fertility and sexuality: during the Qixi Festival (a.k.a. the Double Seventh Festival) held on the 7th day of the 7th month of the Chinese calendar, married women traditionally bought dolls or figurines called 'Móhéluó' (魔合羅) or 'Móhóuluó' (摩睺羅) - the term probably deriving from 'Mahākāla' - in the hopes of giving birth to a child."

"Ritual texts also prescribe the worship of Mahākāla to women looking for a male partner or to pregnant women. In addition, he is also commonly invoked as a protective deity in certain mantras, such as the Śūraṅgama Mantra and the Mahamayuri-vidyarajñi-dharani contained in the Mahamayuri Vidyarajñi Sutra, which are popular in Chan Buddhism tradition."

So, when learning about the Rig Vedas on Agni, there would be writings saying that he is Indra, Vishnu, Shiva, etc. Then there would be the different aspects of the Gods mixed in with each other in which made certain stories confusing. I know that when pertaining to these different Gods, many have their epithets throughout the whole religion, and because of this, I had to learn to seperate them based from researching other source material.

One great example was based on the origin of Agni, as there would be various origin stories based on this God, but as I had learned that this God's symbol is really based on the Bird symbology, then it becomes clear as to where the Legend of the "Red Dragon" story is based on (as this is the fiery Phoenix). As I had listed the stories in the Chapter "Legend of the Bird", you can see that Agni and the Garuda are one and the same, and thus would connect to the Brahmin's building the brick in the shape of a bird. This again leads to that Documentary of Agni being the one who led the Aryans into new lands (as the BBC India Documentary states).  

Based on the information above detailing the God Mahakala, details that this is a Black God. Now, at first I had thought if Mahakala had derived from Agni, but I see this wasn't the case at all. Here as the texts states this God to being "Black God of the graveyard", shows the connections to Shiva as the "Lord of the Dead" and the "Skeleton Lord". It's interesting that they stated how the Chinese would have a miniature black statue of this God near the Hearth, because this is what was done towards Kojin the three headed deity in Japan. This is also what Marco Polo had stated when he described the Chinese as worshipers of the Spiritual God, to which they would make tablets on their doors and altars (which would pray for health of mind and body), and then have the small idol of the Physical God to whom they would pray for rain and agricultural growth. 

Plus, based from this God's fertility and sexual aspects details that this is the God (along with his consort Mahakali) that the other God told the Aryans to not get into worshiping (See "The Lord of Sirius 2"), as they would be called "Baal and Ashtoreth" in the Bible, and why the Phallic image of Shiva is generally shown to be black (which is what the Kanamara Matsuri is based on). 

So, is this detailing the same God? I find it interesting that the God of fire (AGNI) in the Bible tells them to not get into these strange practices of cutting oneself, bloodletting, fire walking and worshiping the dead, witchcraft, and told them to destroy the groves and the pillars of Baal and Ashtoreth, because it's based on the worship of Shiva and Kali (Mahakala and Mahakali). 

Then based from the Navajo Black God of fire story, is shown as a trickster deity and the "God of witchraft" as Masau'u the Skeleton Lord, is what the other God is against. You see this is probably why some of the Israelites became Baal worshipers, and how they got into this witchcraft like "Skinwalking", as these are some of the things connecting to the Lords of the underworld. I was surprised when I came across a Documentary based on Shamanism in Vietnam, and they show the man drink the liqour and spit it out in the same manner as doen in Voodun. I have to find this Documentary again, it just shows the same practices done in places like Haiti and Africa, to being done by the people in Asia. 

This is how much research was put in just to figure everything out, and it becomes apparent that the God of fire (AGNI) had nothing to do with the serpent worship (because of the representation of the Garuda bird), and had told the Children of Israel to not get into cutting, bloodletting practices towards the dead, and to destroy the pillars and the groves that towards Baal and Ashtoreth, but based on learning the some of what happened to the People in America, and how they were worshipers of many Gods.

As you can see, Shiva as the Skeleton Lord is known by many names throughout the Mythos. In the Aztec he would be known as "Mictlāntēcutli" the God of death, and thus is the same as the Hopi God Masau'u.

Based from the Wiki states this: "Mictlāntēcutli, in Aztec mythology, is a god of the dead and the king of Mictlan (Chicunauhmictlan), the lowest and northernmost section of the underworld. He is one of the principal gods of the Aztecs and is the most prominent of several gods and goddesses of death and the underworld. The worship of Mictlantecuhtli sometimes involved ritual cannibalism, with human flesh being consumed in and around the temple. Other names given to Mictlantecuhtli include Ixpuztec (“Broken Face”), Nextepehua (“Scatterer of Ashes”), and Tzontemoc (“He Who Lowers His Head”)."

"Mictlantecuhtli was considered 6 feet (1.8 m) tall and was depicted as a blood-spattered skeleton or a person wearing a toothy skull. Although his head was typically a skull, his eye sockets did contain eyeballs. His headdress was shown decorated with owl feathers and paper banners and he wore a necklace of human eyeballs, while his earspools were made from human bones."

"He was not the only Aztec god to be depicted in this fashion, as numerous other deities had skulls for heads or else wore clothing or decorations that incorporated bones and skulls. In the Aztec world, skeletal imagery was a symbol of fertility, health and abundance, alluding to the close symbolic links between life and death. He was often depicted wearing sandals as a symbol of his high rank as Lord of Mictlan. His arms were frequently depicted raised in an aggressive gesture, showing that he was ready to tear apart the dead as they entered his presence."

"In the Aztec codices, Mictlantecuhtli is often depicted with his skeletal jaw open to receive the stars that descend into him during the daytime. His wife was Mictecacihuatl, and together they were said to dwell in a windowless house in Mictlan. Mictlantecuhtli was associated with spiders, owls, bats, the 11th hour, and the northern compass direction, known as Mictlampa, the region of death."

"He was one of only a few deities held to govern over all three types of souls identified by the Aztecs, who distinguished between the souls of people who died normal deaths (of old age, disease, etc.), heroic deaths (e.g. in battle, sacrifice or during childbirth), or non-heroic deaths. Mictlantecuhtli and his wife were the opposites and complements of Ometecuhtli and Omecihuatl, the givers of life."

"Mictlanteculhtli was the god of the day sign Itzcuintli (dog), one of the 20 such signs recognised in the Aztec calendar, and was regarded as supplying the souls of those who were born on that day. He was seen as the source of souls for those born on the sixth day of the 13-day week and was the fifth of the nine Night Gods of the Aztecs."

"He was also the secondary Week God for the 10th week of the 20-week cycle of the calendar, joining the sun god Tonatiuh to symbolise the dichotomy of light and darkness. In the Colonial Codex Vaticanus 3738, Mictlantecuhtli is labelled in Spanish as "the lord of the underworld, Tzitzimitl, the same as Lucifer".

Based from "" details this: Aghori - the holy cannibals of Shiva: "They have black tongues, chains around genitals, they eat remains of the dead and meditate in haunted houses – they are Aghori, the ascetic Shaiva sect sadhus of India. The life of every Hinduist is the result of his karma. Whatever you did in the past life, will be reflected by the caste you belong to in your present life. If you were born a Brahmin in the family of priests, or a poor servane - it's the result of karma. One is supposed to follow the rules of his caste in order to be reborn as a higher caste."

"Besides the rules of the caste, there are four goals of life, ordered as follows: kama – sensual pleasures, artha – material prosperity, dharma – morality and righteousness, and moksha – liberation from the cycle of life and death. It is impossible to proceed to the accomplishment of the next goal without attaining the previous one – they have to be in order. That is why moksha is usually practiced by older people. However, there are exceptions. Some are said to be born with a spiritual level so high that they no longer need to achieve kama, artha and dharma – the only goal left is moksha."

"Those people are called sannyasins, sadhus, hermits or wanderers, saints or criminals. The weirdest sadhus are, of course, Aghori. They eat filth and use ashes from the dead to paint their bodies, perform rituals around corpses of humans and animals and live close to the funeral pyres to be able to access burnt human remains with greater ease. Their robes are black and they wear necklaces made out of bones. Most of the times they are under influence of opium, charas or alcohol, looking at you with their dozy eyes from under the tangled mop of hair. Under their robe, they have chains, wrapped around their genitals, making them completely defunct. Some Aghoris have trident staves of Shiva, with a begging bowl made out of a human skull attached to it."

"Their bodies are covered with scars due to frequent self-mutilation practices, and their tongues are black, because when they try to eat human flesh from the pyre, they can not touch it with their hands, since it could be a body of a woman. The corpse eating ritual symbolizes the transcendence of Aghori's lower self and realization of omnipotent Self of universal conschiousness. Aghori see the world as a huge crypt, where everyone is already dead. The very fact of birth proves the inevitability of death, and since death is inevitable, it has already taken place."

"Since death has already occurred, the world is a complete illusion, and all opposites in it are illusory. Aghori see the world as god's creation, where nothing is bad or good – all of it is sacred, nothing is vile or disgusting. By their actions, they try to change their perception of reality, transcending social taboos and trying to realize non-duality, which is not easy to understand for a Westerner. Aghori worship Shiva, the Hindu god of destruction, and Kali, the goddess of death and a female incarnation of Shiva. Shiva symbolizes the element of fire, which destroys the old to create the new. Every month Aghori perform a ritual where they sing love songs to Shiva and satisfy Kali by using a dead body."

"They smoke and drink because Shiva used to smoke opium, sitting on top of Mount Kaliash and stopping the heavenly movement with his hair. Other Indians are afraid of Aghori. They believe that Aghoris possess magical powers – Siddhis. By erasing the borders between pure and foul, they know no good or evil, they are unpredictable and do what they want. If you want to look for Aghori, you will easily find them around cremation grounds across India. Their main pilgrimage center is Kina Ram's ashram in Ravindrapuri, Varanasi."

Speaking of Cannibalism, similar to Ghouls eating the dead bodies in Cemetaries, perhaps we can investgate the infamous "Wendigo" and see where this is based on. Now, when looking up the Wendigo, you would see a Giant humanoid creature with a deer skull and antlers, however, other sources dictate that the original wendigo never had horns or antlers, and that it was later annexed to which became a popular image. Let's see what the Wiki states on this creature:

"Wendigo is a mythological creature or evil spirit which originates from the folklore of First Nations based in and around the East Coast forests of Canada, the Great Plains region of the United States, and the Great Lakes region of the United States and Canada, grouped in modern ethnology as speakers of Algonquian-family languages. The wendigo is often said to be a malevolent spirit, sometimes depicted as a creature with human-like characteristics, which possesses human beings. The wendigo is known to invoke feelings of insatiable greed/hunger, the desire to cannibalize other humans, as well as the propensity to commit murder in those that fall under its influence."

"At odds with its portrayals in twentieth-century and twenty-first-century settler culture, in indigenous representations the wendigo is described as a giant humanoid with a heart of ice; a foul stench or sudden, unseasonable chill might precede its approach. Possibly due to longtime identification by Europeans with their own superstitions about werewolves, for example as mentioned in The Jesuit Relations below, Hollywood film representations often label human/beast hybrids featuring antlers or horns with the "wendigo" name, but such animal features do not appear in the original indigenous stories."

"In modern psychiatry the wendigo lends its name to a form of psychosis known as "Wendigo psychosis" which is characterized by symptoms such as: an intense craving for human flesh and an intense fear of becoming a cannibal. Wendigo psychosis is described as a culture-bound syndrome. In some First Nations communities other symptoms such as insatiable greed and destruction of the environment are also thought to be symptoms of Wendigo psychosis."

Now, there would be various interpretations based on the greedy behavior and how this can affect your life, as you will never stop craving, but I think there is more to this. The movie "Antlers" from released in 2021, is said to be a good movie based on the Wendigo. I have also heard that this creature was supposed to be in the Book by Stephen King's "Pet Semetary", in which a certain cursed Cemetary brings back the dead but not in the same manner. 

Even if the Wendigo creature never originally had Antlers, but I can't seem to shake off the resemblance to the Deer symbolism belonging to Shiva. Again, there would be various depictions of Shiva, but remember he is also called "Cernunnos" the "Deer Lord". It's quite fitting to see the symbolism of animals surrounding this God, even the indications of the "were-animals" that is said to also inhabit the Underworld. It seems that the Children putting on their animal masks and holding the "Cross" gives a connection to Cernunnos as the "Deer Lord" Shiva, as he is the "Lord of the Dead" and the "Skeleton God".

Now, of course there would be stories from certain American Indian Tribes of coming from the Underworld, to which I must put this story down here from 1 Samuel Chapter 28.

"7Then said Saul unto his servants, Seek me a woman that hath a familiar spirit, that I may go to her, and enquire of her. And his servants said to him, Behold, there is a woman that hath a familiar spirit at Endor.

8And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit, and bring me him up, whom I shall name unto thee.

9And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die?

10And Saul sware to her by the LORD, saying, As the LORD liveth, there shall no punishment happen to thee for this thing.

11Then said the woman, Whom shall I bring up unto thee? And he said, Bring me up Samuel."

12And when the woman saw Samuel, she cried with a loud voice: and the woman spake to Saul, saying, Why hast thou deceived me? for thou art Saul.

13And the king said unto her, Be not afraid: for what sawest thou? And the woman said unto Saul, I saw gods ascending out of the earth.

14And he said unto her, What form is he of? And she said, An old man cometh up; and he is covered with a mantle. And Saul perceived that it was Samuel, and he stooped with his face to the ground, and bowed himself.

15And Samuel said to Saul, Why hast thou disquieted me, to bring me up? And Saul answered, I am sore distressed; for the Philistines make war against me, and God is departed from me, and answereth me no more, neither by prophets, nor by dreams: therefore I have called thee, that thou mayest make known unto me what I shall do.

16Then said Samuel, Wherefore then dost thou ask of me, seeing the LORD is departed from thee, and is become thine enemy?

17And the LORD hath done to him, as he spake by me: for the LORD hath rent the kingdom out of thine hand, and given it to thy neighbour, even to David:

18Because thou obeyedst not the voice of the LORD, nor executedst his fierce wrath upon Amalek, therefore hath the LORD done this thing unto thee this day."

So, when learning about this verse it does reveal that Samuel and these "Gods" had came from the Underworld. Hence, it makes sense as to why this God had sent an evil spirit against King Saul to which had tormented him. In Ezekiel Chapter 37 details the resurrection from a skeleton grave yard, though with this reference some would state that it's based on Jesus being resurrected, or resurrecting the dead, to bringing back the Children of Israel from the darkness that they got themselves into (That's open to interpretation). 

Now, I have heard that in some Roma folklore that the people came from the Underworld, and that the Tarots, the fortune telling are just some of the things that was brought with them. I have mentioned this in the Chapter "King of the World" based from Ferdinand Ossendowski's account of talking to a Monk, and the Monk mentions the "black Jews" that was kicked out of Agartha. These "black Jews" he stated are the Roma people, the people that lived in India and traveled to Europe and other places. 

Let's see what the "Pet Semetary" Novel states in the Wiki: Plot: "Louis Creed, a doctor from Chicago, is appointed director of the University of Maine's campus health service. He moves to a large house near the small town of Ludlow with his wife Rachel, their two young children, Ellie and Gage, and Ellie's cat, Winston Churchill ("Church"). From the moment they arrive, the family runs into trouble: Ellie hurts her knee, and Gage is stung by a bee. Their new neighbor, an elderly man named Jud Crandall, comes to help. He warns Louis and Rachel about the highway that runs past their house, which is frequented by speeding trucks. Jud and Louis quickly become close friends."

"Since Louis's father died when he was three, he sees Jud as a surrogate father. A few weeks after the Creeds move in, Jud takes the family on a walk in the woods behind their home. A well-tended path leads to a pet cemetery (misspelled "sematary" on the sign) where the children of the town bury their deceased animals. The outing provokes a heated argument between Louis and Rachel the next day. Rachel disapproves of discussing death, and she worries about how Ellie may be affected by what she saw at the "sematary".

"It is explained later that Rachel was traumatized by the early death of her sister, Zelda, from spinal meningitis—an issue that is brought up several times in flashbacks. Louis empathizes with his wife and blames her parents for her trauma, who left Rachel at home alone with her sister when she died. Louis himself has a traumatic experience during the first week of classes. Victor Pascow, a student who has been fatally injured in an automobile accident, addresses his dying words to Louis personally, even though the two men are strangers."

"On the night following Pascow's death, Louis experiences what he believes is a very vivid dream in which he meets Pascow, who leads him to the deadfall at the back of the "sematary" and warns him not to go beyond there. Louis wakes up in bed the next morning, convinced it was, in fact, a dream—until he finds his feet and bedsheets covered with dried mud and pine needles. Nevertheless, Louis dismisses the dream as the product of the stress he experienced during Pascow's death, coupled with his wife's lingering anxieties about the subject of death."

"On Halloween, Jud's wife Norma suffers a near-fatal heart attack but makes a quick recovery thanks to Louis's help. Jud is grateful and decides to repay Louis after Church is run over outside his home around Thanksgiving. Rachel and the kids are visiting Rachel's parents in Chicago, but Louis frets over breaking the bad news to Ellie."

"Sympathizing with Louis, Jud takes him to the "sematary", supposedly to bury Church. But instead of stopping there, Jud leads Louis farther on to "the real cemetery": an ancient burial ground that was once used by the Miꞌkmaq Tribe. There, Louis buries the cat on Jud's instruction. The next afternoon, Church returns home; the usually vibrant and lively cat now acts ornery and, in Louis's words, "a little dead". Church hunts for mice and birds, ripping them apart without eating them. He also smells so bad that Ellie no longer wants him in her room at night. Jud confirms that Church has been resurrected and that Jud himself once buried his dog there when he was younger."

"Louis, deeply disturbed, begins to wish that he had not buried Church there. Several months later, two-year-old Gage is killed by a speeding truck. Overcome with despair, Louis considers bringing his son back to life with the help of the burial ground. Jud, guessing what Louis is planning, attempts to dissuade him by telling him the story of Timmy Baterman, the last person who was resurrected by the burial ground. Timmy Baterman was killed in action during World War II."

"Timmy's body was shipped back to the United States, and his father Bill buried Timmy in the burial ground. Timmy returned malevolent, terrorizing the people of the town with secrets that Jud asserts he had no earthly way of knowing. Timmy was stopped by his father, Bill, who killed Timmy and set their house on fire before shooting himself."

"Jud states that he believes that whatever came back was not Timmy, but a "demon" that had possessed his corpse. He concludes that "sometimes, dead is better" and states that "the place has a power... its own evil purpose", and that it may have caused Gage's death because Jud introduced Louis to it."

"Despite Jud's warning and his own reservations about the idea, Louis's grief and guilt spur him to carry out his plan. Louis exhumes Gage's body from his grave and inters him in the burial ground. Gage is resurrected, entirely different from when he was alive. Now malicious in both his words and actions, he finds one of Louis's scalpels and kills both Jud and Rachel."

"Louis kills both Church and Gage with lethal injections of morphine from his medical supply stock. After burning the Crandall house down, Louis returns to the burial ground with his wife's corpse, thinking that if he buries the body faster than he did Gage's, there will be a different result."

"Following all of these tragic events, Louis has also aged in physical appearance, with white hair and wrinkles. One of his colleagues, Steve Masterton, notices him walking into the woods with Rachel's body. Steve, while fearful and concerned, is influenced by the power of the burial ground too, and even considers helping Louis bury Rachel, but he flees in terror and eventually moves away to St. Louis. Later, Louis sits indoors alone, playing solitaire, and Rachel's reanimated corpse walks up behind him and drops a cold hand on his shoulder, while her voice rasps, "Darling."

Let's see the Plot for "Antlers": Plot: "In the small town of Cispus Falls in central Oregon, Frank Weaver runs a meth lab out of an abandoned mine. While his young son Aiden waits outside in his truck, Frank and an accomplice are attacked by an unseen creature. Aiden is also attacked but they survive their encounter with the creature and return home, where their condition worsens."

"Frank sets up a locked room and demands that no matter what, Aiden's older brother Lucas keep them locked inside. Three weeks later, Lucas spends his time roaming the town, collecting roadkill and killing small animals before taking them home. Lucas's teacher, Julia Meadows, is alarmed by his strange behavior and frightening drawings, and attempts to bond with the troubled boy. She begins to suspect that Lucas is being abused and becomes determined to help him, spurred by her own experience of childhood abuse at the hands of her mentally ill alcoholic father. Since her father's recent suicide, she returned to Siprus Falls to be with her brother Paul, who is the local sheriff, and whom she feels guilty about abandoning when she was younger."

"Julia visits Lucas' rundown home and hears strange sounds. Half of the remains of Frank's accomplice are found in the woods by former sheriff Warren Stokes. Lucas is keeping his sickly and now-ravenous father and brother locked up and feeding them with the animal carcasses he retrieves. Julia pressures the school principal Ellen into paying Frank a visit."

"Paul and Warren discover the other part of Frank's accomplice in the mine along with a part of an antler. Ellen discovers the room where Frank and Aiden are locked up, which she unlocks and enters. Frank kills Ellen before antlers burst out of his body. Frank, now transformed into a savage horned creature, kills Lucas's school bully Clint Owens when Lucas is harassed by the boy. A terrified Lucas flees to his home, where he discovers his father and brother gone. Ellen is reported missing and Julia visits the Weaver house, where she finds Ellen's car. The police arrive and discover Ellen's body along with Frank's, which is now a charred husk. Aiden is nowhere to be found."

"Lucas is taken to the hospital, where Julia and Paul are told he was abused. Julia decides to let Lucas stay with her. The next day, while Lucas recovers in the hospital, Julia and Paul pay Warren a visit and show him Lucas's drawings. Warren identifies the figure as a wendigo, a legendary Algonquin creature that appears as a ravenous, cannibalistic spirit and jumps from person to person. It can only be killed when it is weakest: as it is feeding. Clint's body is discovered that night. Lucas is discharged and learns that Frank is dead. He tells Julia that Frank is coming for him, to take him down to the mine to be with Aiden. The transformed Frank uses Aiden to lure Paul's fellow sheriff Dan out and kill him. Julia and Lucas hide while Paul is badly wounded. Lucas escapes to the mine and Julia and Paul follow, armed with a pistol."

"Inside, Julia discovers Lucas and Aiden, and sees that Frank has indeed become a wendigo, currently feasting on a dead black bear. After a vicious fight, she kills the wendigo-possessed Frank with Lucas' help."

"The wendigo spirit passes into Aiden and Julia stabs Aiden to death, seemingly ending the curse. Sometime later, Paul and Julia discuss keeping Lucas with them for a while despite concerns he may become possessed as well. As Julia and Lucas leave, Paul begins to cough up a black bile, as Frank had when first possessed by the wendigo."

I just love the fact that "Pet Semetary" actually connects to the "Wickerman", as the worshipers of the "Green Man" are also shown wearing "animal mask" in the same manner. You can also see the "Deer" symbolism in the Wickerman Poster, as this also represents Shiva. This just shows how much of an influence this God has over everyone's lives, and why he is truly called "The God of this World".

Jeremiah 19:5 “They have built also the high places of Baal, to burn their sons with fire for burnt offerings unto Baal, which I commanded not, nor spake it, neither came it into my mind:”

Here states this excerpt from the Wiki on "Tohil": "Tohil was the patron deity of the Kaweq lineage of the Kʼicheʼ. He was associated with a sacred deerskin bundle that was said to embody him, and one of his titles was Qajawal Kej ("Our Lord Deer"). The deity was associated with thunder, lightning and the sunrise..."

Modern worship: "Deerskins, the symbol of Tohil, are to this day venerated in many highland Maya communities and are used in dances. In the modern village of Santiago Atitlán in the Guatemalan highlands, a traditional Maya priesthood performs rites to a powerful deity addressed as "King Martin, Lord of the Three Levels, Lord of Rain, Lord of Maize, and Lord of all the Mountains".

"This priest blesses deerskins prior them being worn, with head and antlers attached, during the Dance of Martin on November 11 prior to the maize harvest. King Martin is probably a blend of Tohil and his deerskin bundle with the Roman Catholic St Martin of Tours, whose feast falls on the same day. In Rabinal, Tohil was merged with St Paul while still retaining many of his characteristics."