amanita muscaria gummies as a spiritual tool

The cartoon depiction of a sinister witch from the western area captures the essence of traditional folklore and mythology. With its dark, foreboding imagery, the witch is portrayed as a malevolent force to be reckoned with. The cartoonist's use of vivid colors and dramatic lighting accentuates the witch's eerie appearance. Her long, unkempt hair falls around her haggard face, filled with wrinkles and warts. Her nose is crooked and pointed, while her eyes glimmer with an unsettling intensity. Dressed in tattered black robes, she carries a gnarled, twisted wand, symbolizing her control over dark magic.

An example of a well delivered DLC, which offers an interesting and different approach to the main game. You will enjoy Egypt once again, despite doing the same routines. Review in Spanish | Read full review

Combat continues to be fun and challenging, and this time your biggest foes are fleshed out and varied enough to turn what could ve easily been a monotonous series of fights into a highlight. The base map for this expansion seems about as big as the Hidden Ones expansion, but the additional afterlife regions add scale and scope to this DLC.

Dressed in tattered black robes, she carries a gnarled, twisted wand, symbolizing her control over dark magic. The artist skillfully portrays the witch's surroundings to further enhance her sinister persona. The backdrop features a desolate landscape with barren trees and a full moon looming overhead.

Game Review: Assassin’s Creed – The Curse of the Pharaohs

In the spring, the Nile Scribes invited guest blogger Emily Hotton to tell us how Egypt is represented in the latest installment of the Assassin’s Creed franchise: Origins. The game developers recently added a new expansion called “The Curse of the Pharaohs” featuring the afterlife worlds of four Egyptian royals. This week, we are pleased to welcome Emily Hotton back for a review of the expansion.

Promotional poster for ACO: The Curse of the Pharaohs (Photo: Ubisoft)

Guest Scribe: Emily Hotton

In my previous two reviews of Ubisoft’s 2017 addition to the Assassin’s Creed franchise, Origins (read Review #1 and Review #2), I praised and criticised the base game and the Discovery Tour in equal measure. I enjoyed this installment of the franchise immensely and respected the time and effort the developers and consultants gave towards perfecting the finished product. That appreciation, however, was nearly shattered with the release of the largest expansion to the game to date: “The Curse of the Pharaohs”.

Released in March of 2018, the expansion takes our protagonist, Bayek of Siwa, to Thebes: home to the great temples of Luxor and Karnak and to the Theban Necropolis, including the famed Valley of the Kings. Bayek is drawn to Thebes due to rumours that the kings of old are reawakening, mysteriously massacring the innocent citizens of the city. In order to stop this otherworldly phenomenon, Bayek must travel to the afterlives of each of the resurrected pharaohs through their tombs in the Valley of the Kings in order to save Thebes from this “curse”.

The city of Thebes as it was reimagined during the Ptolemaic Period (Photo: Ubisoft)

I was somewhat disappointed that a large expansion was playing into one of the biggest cliches of ancient Egypt in popular culture. Since the discovery of Tutankhamun’s tomb (KV 62) in 1922 by Howard Carter, the stereotype of the mummy’s curse has been irrevocably interwoven with ancient Egypt’s portrayal in popular media. The base game and its first expansion, “The Hidden Ones,” avoided the stereotype and instead stuck to a storyline delicately interwoven with the main franchise’s overarching plot. Like the decision to make Bayek a Medjay or choosing the decline of the Ptolemaic dynasty as the setting, I feel this decision to perpetuate the false notion of the “curse of the mummy” was made to draw attention to the game instead of focusing on educating those unfamiliar with Egyptian histor y.

Ba-birds, representations of the human soul in ancient Egypt, are seen flying through Nefertiti’s Afterlife (Photo: Ubisoft)

What Was Well Done

(1) Entering the Afterlife

Bayek enters the afterlives of Nefertiti (1353-1336 BC), Akhenaten (1353-1336 BC), Tutankhamun (1332-1323 BC), and Ramesses II (1279-1213 BC) in order to end their terrorizing in the living world.In general, I found the process of entering the afterlife to be a well-rendered experience. It plays appropriately into the themes of the Underworld Books which dictate the soul’s journey into the afterlife. The one criticism I have was the use of false doors: while universal in tomb architecture of the Old Kingdom, false doors do not appear in the royal tombs in the Valley of the Kings as they do in the game. Regardless of this fact, the false doors do work quite well to transport Bayek from the realm of the living to the dead.

False door leading to the afterlife in the rear of Tutankhamun’s in-game tomb (KV 62). (Photo: Ubisoft)

After Bayek makes his way through the false door, he finds himself in a long chamber with water flowing across a narrow walkway dotted with waterlilies and pads – the Lake of Flowers. On either side stand tall, intimidating statues – presumably representing the 42 Judges of the Dead. Powerful voices echo through the chamber, both male and female. Initially, I thought the recited lines were those of the well-known Negative Confession and this was the weighing of the heart against the feather of Ma’at before Osiris and the 42 Judges. But, listening closely, I realized the judges were accusing Bayek of transgressions: “Have you killed the innocent; the weak? Murdered for your cause! Avenge yourself; burn with rage! Cause terror in the hearts of innocents?” The effect was even more dramatic than the “I have not” confession formula featured in the Weighing of the Heart scene. I adore this adaptation – while not replicating the exact Negative Confession uttered by the deceased, you are given strong admonishments from powerful voices as you progress through the hall to the afterlife.

Waterlily path, where the Bayek hears the judgments of the gods. (Photo: Ubisoft)

(2) Tutankhamun’s Tomb

As with the base game, the attention to detail in the expansion is phenomenal. There is intention behind the placement of every object, and wall scene. For example, Tutankhamun’s tomb is filled to the brim with royal funerary grave goods, while the others are mostly empty – picked clean in antiquity. This reflects reality: Tutankhamun’s tomb, though still looted at least twice in antiquity, was promptly resealed and eventually lost after the stairs were mistakenly buried.The one criticism I have for Tutankhamun’s tomb is the entrance: it should have been inaccessible from the surface due to the Ramesside workmen’s huts which blocked the stairs until Carter’s rediscovery of the tomb in the 1920s.

Treasury room in the tomb of Tutankhamun (Photo: Ubisoft)

Another detail worth mentioning were the thrones of the pharaohs within their afterlives. Each throne has a famous scene depicted on the back of the seat – though I would say the scene from Tutankhamun’s throne is most recognizable. The throne bears the same scene found on one of his many funerary chairs. The throne (JE 62028) made its home in the Egyptian Museum, but will soon be displayed together with the entire Tutankhamun collection in the Grand Egyptian Museum which is currently under construction at Giza.

Players who own the expansion can access it through The Curse of the Pharaohs quest in their quest menu. It will appear in the quest log once players have progressed past the main game’s quest, Farewell. They can also open the Atlas in the world map and fast travel to the Thebes region.

This juxtaposition of nature's beauty with the witch's presence creates a palpable sense of unease and impending danger. The cartoonist's attention to detail extends to the witch's distinctive features. From her bony fingers to her sharp, yellowed teeth, every element reinforces her wickedness. Additionally, her stance and expression exude confidence and cunning, emphasizing her power and manipulative nature. The sinister witch in this cartoon serves as a symbol of fear and the unknown. Through this depiction, the artist seeks to captivate viewers by evoking a sense of dread and curiosity. By emphasizing her menacing attributes, the cartoonist fosters an atmosphere of mystery and intrigue, drawing the audience into her dark world. In conclusion, the cartoon depiction of a sinister witch from the western area is a masterful portrayal of traditional folklore. Through the use of color, lighting, and attention to detail, the artist effectively captures the witch's malevolence and intrigue. This cartoon serves as a chilling reminder of the power and mystique associated with witches in Western culture..

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amanita muscaria gummies as a spiritual tool