The Temple of Dagon

Lagwolf wrote:I have invented several in my tales.

Preliminary analysis of Codex VVI
W. G. Coyman, Mission San Gabriel Arcángel, August 1973
    The volume in our possession is ostensibly titled Viaticus in Veritas Inremeabilis. The front and back covers are loose tablets of petrified wood, species undetermined, comparable in size to a tabloid newspaper. Both faces of each are roughly but deliberately carved with geometric figures and patterns. The tablets are fragile beyond doubt, yet perfectly intact and ably preserving the pages pressed between them. The book is unbound, only held together by the will of its keeper. Neither are the pages numbered; it remains uncertain that the complete contents are present, or that the order in which they are found was that originally intended. The “paper” is of unknown composition, bearing traits of leafy vegetation and animal hide. Each page has ragged edges which appear to have thickened and scarred in response to cutting. No two pages are of uniform dimension; the smallest is a mere strip like a cash-register receipt, the largest is folded in half so as not to protrude beyond the covers.
    The assumption of the title is based on the first page presently encountered upon removal of the front cover. Two lines of writing are centered in a bizarre filigree of floral motif. The first line exemplifies an unidentified language which is interspersed throughout the pages. These markings are not clearly alphabetical, diacritical, glyphic or otherwise, yet their situation suggests an analogy to the recognizable script directly below it. This of course is the aforementioned Latin title which means for a journey to truth from which there is no return. Featured on other pages in varying combination with Latin and the unknown cipher are passages of Spanish text. Differing consistencies of penmanship and drawing style indicate multiple authors, but no identities are recorded. It appears that the Latin and Spanish portions were penned by someone(s) either affiliated or familiar with the Catholic Church. One of the most striking illustrations near the “conclusion” of the book is a rather monstrous corruption of the image of Christ on the Cross, annotated only in that alien language which hardly resembles the work of a writing utensil. . . .