Khapeshan pantheon

The Khapeshan pantheon (pronounced kah-PESH-an) is one of the major regional pantheons on Kishar. Most followers of the pantheon live in the nation of Khapesh, with some followers elsewhere along the southern and eastern coasts of the Chaska Sea and along the northern stretches of the Kilche Sea. Its theology emphasizes the close parallels between the mortal and divine realms, and followers of the pantheon believe they have a religious imperative to shape the world to better reflect their gods.

Overview

To those that follow the gods of the Khapeshan pantheon, the divine and mortal realms closely mirror each other. Chaos or stability in one causes the same state in the other. Followers of the gods, therefore, attempt to alter mortal society to better fit the nature of their chosen deity or deities. For example, as a goddess of order Harakhte is believed to grow stronger when there is stability amongst mortals and the rule of law is respected, while she grows weaker when her tenets are neglected in favor of the forces of chaos.

Religious structure is of utmost importance in the Khapeshan pantheon. Temples are almost all organized into churches, with religious leaders appointed into their roles based on rigid structures and ancient practices. Long-standing religious traditions are thought to come directly from the gods, and therefore adherence to these traditions is critical to adherents of the pantheon. The Khapeshan pantheon is quite conservative as a rule, and has changed little even as the world around it has shifted greatly in the last centuries and millennia.

The creation story of the Khapeshan pantheon shares many similarities with that of the Chaskan pantheon, telling of great divine struggles as the universe was brought into being. As the ruler of the gods, Sokar is also the ultimate creator of the world. Sokar directed the other deities in shaping the form of the universe, turning the primordial water, sand, and mud into something much greater than the sum of its parts. As the gods worked under their leader's direction, the serpent Apep formed itself from the waters and lunged at Sokar, enraged at the structure that was being drawn out of the once infinite chaos. After a great battle both Sokar and Apep were mortally wounded, yet as gods neither could truly die. They drew their last breathes and expired, only to rise again, Sokar the next morning and Apep the next evening. Unable to continue the fight himself, Sokar stepped back to advise the gods, giving his sister Harakhte the responsibility of keeping the Serpent at bay - she dutifully continues this task to the present day.

Deities

Name	Areas of Concern	Description
Harakhte	The sun, rulership, law, duty, hunting	Harakhte (pronounced hah-ROCK-tee) is a goddess of the sun, rulership, law, duty, and hunting. Rulers in areas following the Khapeshan pantheon often style themselves as the devoted servants of Harakhte, mortal agents of her will, even if they worship another god as well. Harakhte embodies the traits of a fair but firm ruler. She represents the stabilizing influence of the law, but only when applied equally and fairly - to Harakhte, tyranny is as inimical as chaos. Just as the sun's rays enlighten and nourish the world, clearing away the darkness of chaos, she teaches that rulers should teach and foster the growth of those under their authority. Her clergy instruct that one must follow and enforce the law for the good of all of society, as long as one's leaders hold to the same principles. All good rulers should lead by example, setting a path for their people through their own deeds. Harakhte's most devoted followers tend to be administrators, stewards, and those involved in governance, but she is also popular amongst soldiers, hunters, and any who seek to enforce law and order. Harakhte's clergy is based out of her grand temple in Abydos, a city in lower Khapesh. The temple, located on a small island in the middle of the Aur River, dates back to the earliest days of Khapesh when the city was the kingdom's first capital. Today clerics and champions of Harakhte still regularly make pilgrimages to the temple to pay their respects to the goddess and receive guidance from the high priesthood. Temples to Harakte are almost always built in open air designs, typically set far enough away from other structures that the central area for prayer receives no shade until nightfall. Her faithful believe that performing a prayer in the light of the sun will ensure it is seen by their deity, and therefore make every effort to ensure their actions are visible to her, sometimes even bringing bottled sunlight with them when traveling to sunless places. After the first battle between Sokar and Apep, Harakhte has taken on the responsibility of defending the world from the god of chaos. Every night Harakhte and Apep fight, as the goddess and her divine allies continue their never-ending war to keep the Serpent at bay. Every sunrise symbolizes the temporary defeat of Apep at Harakhte's hands, proof of the the goddess' strength and worthiness of her role. Harakhte is depicted as a woman with the head of a falcon. She is often dressed in the garb of a ruler and typically holds a scepter in her hand. In some images, she wears the traditional crown of Khapeshan monarchs.
Sokar	Death, rebirth, change, renewal, plants, agriculture, hope	Sokar (pronounced SOW-car) is a god of death, rebirth, and change. He is the creator of the universe and the original ruler of the gods, though after his battle with Apep he gave that role to his sister Harakhte. Perhaps more so than with any other deity in the Khapeshan pantheon, Sokar fills a number of roles. He is the giver of life who causes plants and animals to grow and thrive, yet he is also a god of death. It is Sokar who gave mortals the wonder of existence at the same time he imparted the inevitability of its eventual end. Through creating and maintaining the cycles that govern the universe, Sokar ensures the world remains bountiful for each future generation. In this way he is also a god of hope, as his followers know that even the evil and bad in the world will eventually come to an end, replaced by better times. Sokar is the shepherd of mortals who guides his flock towards the future. Sokar is closely connected to the Aur River's cycles of droughts and floods that bring new growth every year. In Khapesh Sokar is intrinsically tied to agriculture and communal prosperity, and he is worshiped across the kingdom in hopes of bountiful harvests. Though most across Khapesh pray to Sokar at least occasionally, he is followed especially devotedly by farmers, pastoralists, and others who make their living from the earth. The One Who Continues to be Perfect is one of the most cosmologically important of the Khapeshan pantheon's gods. In the moments before time began, Sokar directed the other deities in shaping the form of the universe, turning the primordial water, sand, and mud into something much greater than the sum of its parts. As the gods worked under their leader's direction, the serpent Apep formed itself from the waters and lunged at Sokar, enraged at the structure that was being drawn out of the once infinite chaos. After a great battle both Sokar and Apep were mortally wounded, yet as gods neither could truly die. They drew their last breathes and expired, only to rise again, Sokar the next morning and Apep the next evening. Unable to continue the fight himself, Sokar stepped back to advise the gods, giving his sister Harakhte the responsibility of keeping the Serpent at bay. As is typical with Khapeshan deities, a grand temple to Sokar exists, whose priests are seen as leaders of his faithful. From the grand temple in Sile the Sokarin clergy provides guidance to pilgrims and clerics alike who travel far to seek the wisdom of the god. Smaller temples are widespread across Khapesh, with one in almost every city of notable size. Sokarin temples are often built to reflect the many sides of their god. The exteriors of the temples are often as richly decorated with reliefs as any in Khapesh, but their interiors are almost always extremely austere - many even retain dirt or sand floors, partially as a matter of humility and partially as they tend to interpret the idea of sacred ground rather literally. Sokar is depicted as a green-skinned figure holding a crook and flail. In some pictures he is shown partially mummified.
Tawaret	Families, children, protection, dreams, hospitality	Tawaret (pronounced TAH-wah-ret) is a goddess of families, children, protection, dreams, and hospitality. She is seen as a rather playful goddess, an old matriarch who finds great joy in the laughter of children. Devout followers of Tawaret are always willing to open their homes to travelers and others requiring hospitality, and those journeying across Khapesh, as well as others who are in need of food or shelter, know that they can find such accommodations at temples to the goddess. The goddess and her priesthood place a heavy emphasis on the importance of hospitality. Large communal feasts are common events at most temples, free for all to partake. Though Tawaret has a grand temple like most other gods in the pantheon, located in Semnu in lower Khapesh, her clergy place comparatively little importance on the maintenance of ornate and stately houses of worship. Temples to the goddess tend to be rather more austere, as aside from that of the priests themselves, relatively little worship takes place there. Tawaret is instead a household deity, one prayed to by individuals and families at small shrines in their own homes. Imagery of Tawaret and inscriptions invoking the goddess are commonly placed above doors and on bed frames so that she might watch her faithful as they rest. As Harakhte and her retinues fight Apep in the divine world at night, Tawaret protects mortals from the Serpent's forces and evil spirits in the mortal realm. Yet for all her serious aspects, Tawaret is a joyous goddess as well. She cares greatly for the happiness of her followers, especially that of families and children, and her clergy regularly hold festivals throughout the year to communally celebrate the birthdays of children and infants. Khapeshan children are frequently born in temples to Tawaret, with new mothers cared for by the priests. Tawaret is depicted in humanoid form, a female figure with the horns of a cow.
Meshkenet	Art, music, invention, leisure, beauty	Meshkenet (pronounced MESH-keh-net) is a goddess of art, music, invention, leisure, and beauty. The goddess and her clergy teach the importance of rest, recuperation, and the enjoyment of the small things in life - sometimes to do right in the world one must take care to remember the efforts that make it worthwhile. Meshkenet is the patron of artists of all kinds, as well as that of musicians. But not all followers of Meshkenet choose to display their faith through art. She is a goddess of creativity above all else, and all types of expression that bring wonder and provoke the imagination are believed to be appreciated by the goddess. Inventors, for example, commonly worship her as they design ingenious new contraptions and devices. Gardeners as well frequently pray to Meshkenet as they construct beauty out of the natural world. Butterflies are closely associated with the goddess, and it is believed that she shows her favor by sending swarms of the beautiful insects to the gardens of her most devoted. The grand temple of Meshkenet, in the city of Peremoun, is actually rather atypical of her temples. It is located underground with the rest of the city, and therefore cannot easily host the sprawling gardens that others typically have. Her grand temple is still richly decorated however, interior and exterior surfaces alike covered in many brightly colored reliefs and frescoes. The production and maintenance of gardens and artistic works is often closely involved in the prayer of Meshkenet's faithful. Meshkenet is depicted as a figure with the head of an antelope. She is sometimes shown holding a musical instrument, paintbrush, or other item used for artistic pursuits.
Qadesh	Travel, storytelling, fresh water, rivers, oases	Qadesh (pronounced kah-DESH) is a goddess of travel, storytelling, rivers, and oases. She placed fresh water in the world to pull people together out of the hostile desert, providing the impetus for the earliest societies to grow. The goddess remains highly important as the patron of adventurers and others who travel widely, sharing tales of the sights they see and people they meet as they do so. The act of telling a story is seen as pious to adherents of Qadesh's faith. They have a particular penchant for fictional tales, especially long and intricate epics, but shorter stories and accounts of real events take on religious importance as well. The grand temple of Qadesh is located in Faiyan, a city in upper Khapesh. Temples to the goddess often have elaborate fountains and waterworks that serve as objects for contemplation and prayer. Though Qadesh's temples and shrines can be found across the kingdom, most of her priesthood are itinerant, wandering paths both widely traveled and seldom taken. In doing so they teach the tenets of their goddess to those they meet along the way, aid fellow travelers, and share news of the places they have been. Unlike with the devotees of Qadesh's interpretations in some other pantheons, however, these clerics retain close ties to their home temples and regularly return to receive guidance and instruction from the leadership of the priesthood. Some clerics and champions of Qadesh act as water-bearers in the harsh landscapes of the Red Lands, ever vigilant for travelers that have succumbed to thirst and dehydration. Qadesh is depicted as a humanoid figure with ostrich feathers in her hair. In some imagery she holds a walking staff or a pot of water that is poured out to form a river.
Shentayet	Knowledge, writing, history, education, research	Shentayet (pronounced shen-TAH-yet) is a goddess of knowledge, writing, history, education, and research. She taught mortals language so that they might keep records of the events of the world, just as she does with all the actions of the divines. As the Collector of Truth, many of Shentayet's followers are scribes and others concerned with recording factual information. Her temples often work closely with local governments to chronicle even the most mundane details of day to day life, as they believe all knowledge will eventually have a use. The clergy of Shentayet view the mere action of writing to be a pious act, and many are prolific authors of theological treatises, detailed chronologies, natural histories, or even fiction. But Shentayet is also worshiped by those that use knowledge, not just those that record it. Many sailors pray to the goddess, for example, as the celestial maps they rely upon so heavily for navigation are made in her name. Shentayet's faith is led by her grand temple in Arthribis, a relatively small city in upper Khapesh. Like many other temples to the goddess, this grand temple is also a library and school, a place for prospective students to learn about divine, magical, and mundane topics alike. Temples of Shentayet often serve as repositories of knowledge, places where obscure information otherwise forgotten can be found, all dutifully cataloged and preserved by her priests. Shentayet is depicted as a humanoid figure with the head of a baboon. She often carries a clay tablet or a scroll, upon which is visible an invocation to the goddess.
Khenmu	Cities, trade, wealth, architecture, craftsmanship	Khenmu (pronounced KEN-moo) is a god of cities, trade, wealth, architecture, and craftsmanship. As the builder of civilization, he is thought to have a closer connection to mortals than any other god save perhaps for Tawaret. Khenmu and his faithful strive for growth and prosperity, as the god wishes only to see mortal civilizations thrive and expand in an orderly manner. Khenmu and his priesthood call for his followers to build and create, whether that be an object as simple as a tool or as complex as a city, or something even grander in scope. Many among his faithful see the construction of towns, cities, and great monuments as a religious prerogative, something to be undertaken with great solemnity and devotion as an expansion of civilization in the mortal realm. The grandiose tombs, mortuary complexes, canals, and more that can be found across Khapesh were and are largely made under the direction of Khenmu's clergy, as the inscriptions to the god they often bear can attest. The god has a large following amongst all manner of craftspeople. No matter the trade, all those who work with pride are welcomed by Khenmu. Both the apprentice and master can find reason to worship Khenmu, as he is the master of all crafts, surpassed in none. Architects in particular are closely connected to the god. More generally, Khenmu approves of prosperity and those who bring it to their communities, and so merchants often follow him as well. Unlike every other grand temple to the pantheon's many gods, Khenmu's is not located in Khapesh proper. Instead it can be found in Avaris, a port city that connects the Chaska and Kilche seas. Despite its relative distance from most of the god's followers, the priesthood of the grand temple maintain close connections with other temples scattered across the kingdom and the Khapeshan diaspora. Khenmu's temples serve as examples of the greatest of Khapeshan architecture, simultaneously innovative and traditionalist as they meld ancient designs with modern methods of construction. Khenmu is depicted as a figure with the head of a bull, often holding a hammer and chisel or other tools associated with craftspeople.
Shai	Judgement, souls, the dead, the moon, burial rites	Shai (pronounced SHY) is a god of judgement, souls, the dead, and the moon. They are the judge of the deceased who determines if they are worthy to pass into their afterlives and their guardian who keeps them safe from threats beyond death. All those that die face Shai eventually to have their hearts weighed on the Scales of Judgement - as much as some may try, there is no way to avoid their verdict. Those who did their duty in life are honored by Shai with a passage to the afterlife, while those who shirked their responsibilities or performed foul deeds are tossed to his hounds. The god judges all impassively and impartially, strictly following the ancient rules of the gods. Before judgement, however, all souls must first make their way to Shai. Such a journey is fraught with dangers, for Shai is not the only god who is concerned with those that have died. Apep too seeks souls for his own purposes, as he desires to consume them to provide him strength in his battles against the gods. The time between one's death and their arrival at Shai's court is perhaps the most perilous period for any soul. Upon death all souls enter the Rivers of the Dead, great divine waterways that collect souls from the mortal realm and carry them towards Shai. Complex rites performed for the dead by priests of Shai, as well as texts, maps, and other items interred with the deceased, are all intended to ward souls and provide them with the knowledge necessary to navigate the Rivers successfully, while avoiding Apep who lurks in the recesses of the waters. Even those who are sure they will be judged unworthy by Shai still consider such a fate preferable to being eaten by Apep. The clergy of Shai are intensely concerned with the proper methods to inter the dead. Funerary rites and rituals are of central importance to his religion, all carefully recorded and preserved so they will never be forgotten. Indeed, Khapeshan burial practices have changed very little in millennia, in large part due to the diligence of Shai's priesthood. These traditions are recorded in Shai's holy text, Emerging Forth into the Light. This lengthy tome includes instructions on the correct means to bury or preserve the bodies of the deceased, as well as steps meant to guide the soul as they make their way towards judgement and then their eventual destination. Excerpts from Emerging Forth are commonly written on coffins, funerary urns, or objects left with the dead, in order that they will not forget the instructions when they find themselves along the Rivers. The grand temple of Shai is located in the city of Apis, believed by many to be the oldest settlement in all of Khapesh. The temple there has been used continually by priests of Shai for at least seven thousand years. It is old enough that there are inscriptions in the reliefs on the walls that are written in languages so ancient that their very existences have been otherwise forgotten. Outside the city are a large number of mortuary complexes and tombs for Khapeshan royals and elites, all dutifully preserved by Shai's clergy. Smaller temples and shrines to the god are commonplace across Khapesh and in other regions where the pantheon is followed, often with their own extensive crypts, catacombs, or other manner of tombs. Shai is depicted as a figure with the head of a jackal, often holding an ankh or a scale.
Maahes	Conflict, weapons, tactics, healing, alcohol	Maahes (pronounced MAH-hess) is a goddess of conflict, weapons, tactics, healing, and alcohol. The capricious goddess is simultaneously a fighter and a healer, one who can both cause grievous injuries and tend to wounds, all depending on her unpredictable whims. Maahes is the patron of many disparate groups. Soldiers and adventurers worship her for her martial domains, while healers and herbalists do so in hopes of receiving divine guidance in tending to their patients. Her followers vary widely in alignment, as the goddess will accept any whose actions do not further the interests of Apep. Maahes is also the patron of brewers, who often invoke the goddess to bless their alcohol. As the warrior of the gods, Maahes is one of Harakhte's most important attendants in the battles against Apep. Though the other gods rely on Maahes heavily to keep the Serpent at bay, they simultaneously fear her. Maahes' bloodlust after each nightly encounter is so great that she sometimes refuses to stop fighting after Apep retreats at the coming of the dawn, turning her violent attentions to the other gods instead. Every time she does so they lead her to one of the Rivers of the Dead, to a particular waterway said to flow with endless beer. Her attentions diverted, Maahes drinks until she calms and rests, forgetting her battles for a time. This is said to be the only way Maahes can be placated. From their grand temple in Naqada, a city in lower Khapesh, the priesthood of Maahes provides guidance and instruction to the many other temples to the goddess that can be found across the kingdom. Temples to Maahes are extremely important places in most communities, as their clergy are expert healers renowned for their ability to treat nearly any injury or ailment through both magical and mundane means. Many travel Khapesh and abroad, serving as itinerant war clerics who solve the troubles of the places they venture, whether that come in the form of defeating local foes or tending to the sick. Maahes is depicted as a lion-headed figure, often holding weaponry of various types.
Amathaunta	Survival, trickery, self-interest, spite	Amathaunta (pronounced a-mah-THAWN-tah) is a goddess of survival, trickery, self-interest, and spite. A comparatively minor deity in the Khapeshan pantheon, she is the patron of outcasts and outlaws, those who have rejected the rules of society and now live on their own terms. Communities that live on the margins of the inhospitable Red Lands often worship Amathaunta, as she gives them strength and motivation to continue to live life in a harsh landscape. By both her followers and the faithful of other deities, Amathaunta has always been considered to be apart from the other gods of the pantheon. She is too chaotic and strong-willed to be cowed under Harakte's rule, while also having no desire to turn to the evil of Apep. Just as Amathaunta rejected the laws by which the other gods abide, so too do her followers with the laws of mortal society, carving out niches for themselves in times and places that do not favor them. Many criminals turn to worship of Amathaunta, but so too do individuals who cannot or simply will not conform to the expectations placed upon them. The grand temple to Amathaunta is located in the city of Timinhor in lower Khapesh. Temples to the goddess in major cities are otherwise rather uncommon, though smaller shrines are widespread. Most of Amathaunta's most devoted followers live in more isolated parts of the kingdom, especially on the borderlands away from the river, where a number of temples to the goddess can be found in isolated locations, tended be a priesthood that is, by Khapeshan standards, remarkably disorganized. The clergy of the goddess are quite independent, much like the Amathaunta herself, and do not pay much heed to religious guidance from afar that does not come directly from a divine source. Extremely unusually in comparison to other Khapeshan deities, there is no holy text to Amathaunta, though her clerics do commonly share exhortations to the goddess that are often inscribed on reliefs and other imagery depicting her. Amathaunta is depicted as a humanoid figure with the head of a cat.
Sutekh	Power, ambition, rivalry, deserts, sandstorms	Sutekh (pronounced SOO-tek) is a god of power, ambition, rivalry, deserts, and sandstorms. Though aggressive and evil in his quest to rule the gods, he is not unreasonable, and he plays an important role in keeping Apep at bay. Sutekh aids Harakhte in her cyclical battles against the Serpent, fighting side by side through the night even as he seeks to usurp her position, as despite his own aims he knows there are greater stakes at play. From his domain of the desert Sutekh always plots for more. The arid lands around Khapesh are so barren, his followers say, as he has already used everything they had in his chase of a greater position than the King of the Red Lands. Sandstorms are said to be brought about by Sutekh's anger, directed towards those that stand in his way. Sutekh is the patron of the ruthlessly ambitious, those who are willing to cast others aside in their pursuit of personal power, even as his clergy simultaneously teaches the importance of uniting under strong leadership for a common goal. They see no contradiction in seeing the significance of both sides at once. Both the god and his followers seek control, yet what is the purpose in ruling a pile of rubble? For this reason Sutekh is seen far more favorably than Apep or Nakith by devotees of other gods of the Khapeshan pantheon, even if they remain keenly aware that to Sutekh's followers any notions of larger issues are constantly re-evaluated as they wait for a time to strike. As with other evil deities in the pantheon, Sutekh has no grand temple. Smaller temples can be found with ease, however, as the god is tolerated enough for his followers to be permitted a presence in most large communities. Sutekh is depicted as a humanoid figure with the head of a sha, spear in one hand and a fistful of sand in the other. In imagery made by his followers he is often shown wearing the same crown possessed by Harakhte, though this is never seen when the god is depicted in the religious artwork of other faiths.
Nakith	Hedonism, catharsis, hunger, revenge	Nakith (pronounced nah-KITH) is a goddess of hedonism, catharsis, hunger, and revenge. The goddess has an unusual status in the pantheon. Commonly known as the Half-Alive or the Serpent-Tarnished, she is believed to have been partially devoured by Apep in the first battle between the Serpent and the rest of the gods. Though she managed to escape, in her incomplete form she can no longer experience joy, satisfaction, or other sensations like she could before. Constantly driven by a hunger to recapture emotions she can no longer grasp, Nakith now seeks to devour the mortal world just as Apep does the divine. There are relatively few devotees of Nakith. As the goddess is antagonistic to the order in which the other gods live, she is shunned by adherents of effectively every other deity, even those of Apep. To followers of the Serpent, Nakith is a defeated foe unworthy of any consideration, while worshipers of the Half-Alive see Apep as perhaps their greatest enemy for what he did to their goddess. Nakith's faithful see the world as theirs for the taking, something they deserve in compensation for the disregard the other divines showed to their goddess in allowing her to be consumed. Temples and shrines of Nakith are usually found in hidden places such as under-cities or repurposed old tombs. Like other evil deities in the Khapeshan pantheon, she has no grand temple. Her clergy and faithful rarely openly proselytize, preferring instead to grow their number and expand their cults through more subtle means. The goddess is the patron of those that indulge to the greatest in all worldly pleasures while they last, while also the one that causes them to end, a deity of both feast and famine. Nakith was once a neutral good goddess of plenitude, freedom, and forgiveness, but these domains were lost by her during her encounter with Apep. While nearly all of her followers worship her current form, a rare few still believe their goddess can be redeemed in the same way she would formerly have given absolution to others. These followers are extremely secretive about their views to the point that many consider the sect to be a mere myth. Nakith is variously depicted as skeletal, emaciated, or in some other manner that conveys her status and constant struggle. She is often pictured wielding the knife she used in her failed attempt to defend herself from Apep.
Apep	Destruction, chaos, anger, night	Apep (pronounced ah-PEP) is a god of destruction, chaos, anger, and the night. The Serpent is the primary antagonist of all the other gods, fighting them in nightly battles as he tries to unmake the divine world. Apep plays an important role in the creation story of the Khapeshan pantheon. As the gods to build the world under Sokar's direction, the serpent Apep formed itself from the primordial waters and lunged at Sokar, enraged at the structure that was being drawn out of the once infinite chaos. After a great battle both Sokar and Apep were mortally wounded, yet as gods neither could truly die. They drew their last breathes and expired, only to rise again, Sokar the next morning and Apep the next evening. When Sokar tasked Harakhte with keeping the Apep at bay, the god turned his rage towards the new defender of creation. In battles every night the two clash. Apep cannot exist in the light of the sun, and must therefore make his attempts at defeating the other gods under cover of darkness. Every sunrise symbolizes the defeat of Apep at the hands of Harakhte, a joyous celebration to most yet a source of great anger to followers of the Serpent. Apep is also the Eater of Souls, an enemy to Shai who seeks to consume the souls of the deceased in order to both gain their strength and to disrupt the cycles of the universe. During the day when he is forced to hide from the sun Apep lurks in the recesses of the Rivers of the Dead, waiting for powerful yet unsuspecting souls to pass, who he then consumes to provide energy and knowledge for his upcoming battle the next night. As with other evil deities in the pantheon, Apep has no grand temple, or many temples at all for that matter. The Serpent is the most reviled deity in Khapesh, seen as an enemy by all others, and his followers are treated with equal hostility. Most worship of Apep takes place at hidden, private shrines instead. Some devotees of the Serpent occasionally undertake the risky endeavor of performing their rites and offerings in the temples of other gods, especially those of Sokar, Harakhte, Shai, and Sutekh, finding opportune moments to glorify their patron while fouling the holy places of others. Unlike every other god in the Khapeshan pantheon, Apep is not depicted in a humanoid manner. Instead he is shown as a serpent, sometimes very large in size and sometimes no bigger than an ordinary snake. At certain points in Khapesh's history it has been seen as dangerous to create images of Apep - in some ancient tombs and ruins reliefs showing Apep were defaced long after their creation, damaged in order to avoid drawing the attention of the Serpent. This taboo broadly does not hold in modern Khapesh, but some groups continue to eschew any depiction of the god.

Area of worship

The vast majority of the Khapeshan pantheon's followers live in the Kingdom of Khapesh. Khapeshan influence stretches far, however, and many adherents of these gods can also be found elsewhere along the southern and eastern coasts of the Chaska Sea. In the northern Kilche, the now largely abandoned nation of Akhom was inhabited by followers of the Khapeshan pantheon, and many who left their destroyed lands for Rudamun continue to worship the same deities. The pantheon has a notable presence even in the southern Kilche as far afield as Talmithe and Oscan.

Connections to other pantheons

The Khapeshan and Chaskan pantheons all share many notable similarities. Their creation stories are quite similar, for one, as are the general roles that they ascribe to each god. Scholars of religious matters generally believe all pantheonic deities to be the results of differing cultures seeing the same gods in their own ways, frequently pointing to these two pantheons in particular as proof. Certainly their modern followers often do not see great differences. A priest of a Khapeshan deity and one of a Chaskan deity often find much common ground, sharing many teachings, holy texts, and practices. Even religious structures and leadership often overlap. For example, though the Khapeshan church of Harakhte is nominally independent, it has close relationships with the centralized church of Harinna in Mesollonia.