Fabric of the Gods: A Molecular Analysis of the Manufacturing Process

by Dr. Zephyra Cadogan, Department of Alchemy, Miskatonic University

The quest for knowledge and power has been a driving force behind human exploration and discovery throughout history. In the realm of the arcane and mystical, the pursuit of forbidden knowledge has often led to the unearthing of secrets that challenge the boundaries of human understanding. One such enigmatic text that has captivated scholars and mystics alike is the “Necronomicon,” a grimoire purportedly written by the 8th-century Arab scholar Abdul Alhazred. Among the many cryptic passages within this tome, one stands out for its detailed account of a dark and ancient art – the creation of the so-called “fabric of the gods.”

In this essay, we delve into the manufacturing process of this mythical fabric as described by Abdul Alhazred. We explore the plausibility of the process, its physical properties, and the potential molecular transformations that occur during its creation. Drawing upon the principles of modern chemistry and physics, we attempt to bridge the gap between the arcane descriptions of the text and the scientific understanding of material synthesis. Through experimental archaeology, we also attempt to replicate the manufacturing process, albeit with ethical substitutions for the more macabre ingredients.

Understanding the Fabric of the Gods

The chapter in question describes a process for creating a mystical fabric known as the “fabric of the gods.” This fabric is said to be made from rotting human flesh and wood from birch trees found in the Zagros Mountains. The process, as described in the text, involves a series of alchemical steps that culminate in the creation of a fabric with supernatural properties. In this essay, we will analyze the plausibility of the manufacturing process and the physical properties of the fabric from a molecular perspective.

The first step in the process involves procuring rotting human flesh and allowing it to decompose further in the sun. Decomposition is a natural process that breaks down organic matter into simpler molecules through the action of bacteria, fungi, and other microorganisms. During decomposition, proteins, lipids, and carbohydrates in the flesh are broken down into smaller molecules such as amino acids, fatty acids, and sugars. These molecules serve as the building blocks for the subsequent steps in the manufacturing process.

The next step involves obtaining wood from birch trees found in the Zagros Mountains. Wood is primarily composed of cellulose, hemicellulose, and lignin. Cellulose is a polysaccharide made up of glucose units linked together in long chains. Hemicellulose is a branched polysaccharide consisting of various sugar monomers, while lignin is a complex polymer that provides structural support to plant cell walls.

The rotting flesh and birch wood are then placed in a cauldron filled with saltwater and simmered for five days. The saltwater acts as a solvent, facilitating the dissolution of the decomposed flesh and wood into a fibrous substance. The heat from simmering accelerates the breakdown of the remaining proteins, lipids, and carbohydrates in the flesh, as well as the cellulose, hemicellulose, and lignin in the wood. The result is a mixture of simpler molecules that can be further processed.

The alchemist is instructed to stir the pot with a rod of pure silver. Silver is known for its antimicrobial properties, which may inhibit the growth of bacteria and other microorganisms in the cauldron. This step ensures that the mixture remains relatively free of contaminants that could interfere with the subsequent steps in the process.

The fibrous mass is then placed upon a sigil drawn with the blood of a sacrificial animal and beaten into a pulp with a mallet forged from the bone of a demon. The beating process further breaks down the fibers, increasing their surface area and making them more amenable to chemical reactions. The use of a demonic bone mallet and a sigil drawn with blood may be symbolic rather than functional, representing the alchemist’s willingness to transgress moral boundaries in pursuit of forbidden knowledge.

The pulp is then pushed through a fine sieve made of pure silver, suspended over hot, glowing ambers. The heat from the ambers causes the water in the pulp to evaporate, leaving behind fine strands of fibers. These fibers are then bleached, spun into threads, dyed, woven into fabric, and tailored into garments.

At the molecular level, the process described by Alhazred likely involves the formation of new chemical bonds between the molecules present in the decomposed flesh and wood. The heat from simmering and the beating process may facilitate chemical reactions that result in the formation of new polymers. These polymers could plausibly form the basis of the threads used to weave the fabric of the gods.

However, there are several gaps in the description of the manufacturing process. For example, the text does not specify the type of salt used in the saltwater or the concentration of the salt solution. The type and concentration of salt could significantly impact the solubility of the decomposed flesh and wood in the cauldron. Additionally, the text does not provide details on the bleaching, spinning, dyeing, and weaving processes. These steps are crucial for transforming the fibers into a usable fabric.

Furthermore, the text describes the fabric as having supernatural properties, including the ability to ensnare the senses and lead souls to damnation. These claims are likely metaphorical rather than literal, representing the allure of forbidden knowledge and the dangers of transgressing moral boundaries.

In conclusion, the manufacturing process described by Abdul Alhazred is plausible from a molecular perspective, as it involves the breakdown of organic matter into simpler molecules and the formation of new polymers. However, there are several gaps in the description of the process that would need to be addressed to create a functional fabric. The supernatural properties attributed to the fabric are likely symbolic, representing the allure and dangers of forbidden knowledge.

Experimental Setup

In an attempt to replicate the manufacturing process described by Abdul Alhazred, we conducted a series of experimental studies. For practical reasons, we used locally sourced birch wood. Unfortunately, due to ethical considerations, we could only acquire animal flesh (specifically, pork). We used these ingredients as substitutes for the Zagros Mountain birch wood and human flesh mentioned in the text. All experiments were conducted in a controlled environment, adhering to modern safety and ethical standards.

Tools and Materials
  • Cauldron: A large iron cauldron was used to simmer the mixture of flesh and wood. The cauldron was placed over an open flame to maintain a constant temperature.
  • Silver Stirring Rod: A pure silver rod was used to stir the mixture in the cauldron, as described in the text. The rod was crafted by a skilled silversmith and measured 60 cm in length and 2 cm in diameter.
  • Silver Sieve: A fine-mesh sieve made of pure silver was used to strain the fibrous mass. The sieve had a mesh size of 0.5 mm and was suspended over hot ambers to facilitate the drying process.
  • Bone Mallet: Due to the only demon bone within the collection of Miskatonic University not being released for this experiment, a buffalo bone was used to craft the mallet. The mallet was used to beat the fibrous mass into a pulp.
  • Sigil: A sigil was drawn on the ground using the blood of a chicken, as a symbolic representation of the original process.
  • Salt Concentration: We experimented with various salt concentrations in the saltwater solution, ranging from 5% to 20%.
  • Flesh to Wood Ratio: We conducted multiple experiments with varying ratios of flesh to wood, ranging from 1:1 to 4:1 (flesh:wood). 
  • Relative Amount of Saltwater: The amount of saltwater used in the cauldron was also varied in our experiments. We tested with enough water to just cover the mixture, up to twice the volume of the mixture.
  • Dyeing: Different natural dyes, such as indigo, madder, and cochineal, were used to color the threads.
  • Bleaching: The fibers were bleached using both sunlight and chemical bleaching agents to determine the most effective method.
  • Weaving: Various weaving techniques, including plain weave, twill weave, and satin weave, were tested to create the fabric.
Best Result

The most successful experiment involved a salt concentration of 10% in the saltwater solution. We found that a 2:1 flesh-to-wood ratio produced the most consistent and desirable results. A higher proportion of flesh resulted in a more pliable and softer fabric, while a higher proportion of wood led to a stiffer and less flexible fabric. We also found that using an amount of saltwater equal to 1.5 times the volume of the flesh and wood mixture produced the best results. Too little water resulted in uneven simmering and incomplete disintegration of the materials, while too much water diluted the mixture and reduced the effectiveness of the transmutation process. 

In this most successful experiment, we used 2 kg of pork flesh, 1 kg of birch wood, and 4.5 liters of 10% saltwater solution. This combination produced a fibrous mass that was easily beaten into a pulp and strained through the silver sieve, resulting in fine, lustrous threads that were ideal for weaving into fabric. The mixture of pork flesh and birch wood was simmered for five days, with regular stirring using the silver rod. The fibrous mass was then placed on the sigil and beaten into a pulp using the buffalo bone mallet. The pulp was pushed through the silver sieve, suspended over hot ambers, resulting in fine strands of fibers. The fibers were bleached using sunlight for three days, spun into threads, and dyed with indigo. The threads were then woven using a plain weave technique to create the fabric.

It’s important to note that the specific ratios and amounts may vary depending on the type of flesh and wood used, as well as other environmental factors such as temperature and humidity. Therefore, further experimentation may be necessary to optimize the process for different conditions.

Physical and Chemical Properties

The resulting threads were strong and flexible, with a lustrous sheen. The fabric was soft to the touch, with a shimmering blue hue. Chemical analysis of the threads revealed the presence of cellulose, keratin, and other proteins, indicating the successful fusion of the wood and flesh components. The fabric had a high tensile strength and was resistant to tearing.

Volunteer Test

A volunteer tried on a garment made from the fabric. While wearing the garment, the volunteer reported feeling a sense of mental fogginess and disorientation. However, no long-term effects were observed, and the volunteer’s soul was not lost in the abyss, as described in the text.


The experimental replication of the fabric of the gods was successful in terms of creating a viable fabric with unique physical and chemical properties. However, the supernatural effects described by Abdul Alhazred were not observed. This discrepancy could be attributed to the use of substitutes for some of the original ingredients. Further research is needed to explore the potential effects of using the exact materials described in the text.

There is still more to explore.

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