The Children of Agni

Now, before I begin I want to address how there were many changes based on these stories of the original Gods. Namely the two most prominent Gods in the Vedic story is Indra and Agni, and I find these two to be the most interesting, because based from these two we have the Michael and the Red Dragon story from the Bible. Everything has a beginning. Now, I want to remind the reader on the importance of the Earlier Vedic scripts compared to the Post Vedic stories on these Gods, however, I must say that even when reading these "apparent" early Rig Vedic stories of the Gods still detail some corruption. Let's address the Garuda story for example. Based from the previous chapters I had detailed how Garuda is likened to Sun Wukong and the devil who was defeated by another force; however, this is really the post Vedic story. Even Garuda had merged with Fudo Myoo, whereas Acala is based on the dragon God Shiva and bird god Garuda is really based on Indra. Through symbolism, will state the true story of the Bird God Garuda who steps on the Naga is based on the Indra the King of Heaven defeating the serpent Vritrasura who wanted to take over the three worlds. This will become a recurring theme as I list some other stories.

Based on Indra states this in the Wiki:

"Indra is the Hindu god of weather, considered the king of the devas and svarga in Hinduism. He is associated with the sky, lightning, weather, thunder, storms, rains, river flows, and war.^[5][6][7][8]

Indra is the most frequently mentioned deity in the Rigveda.^[9]He is celebrated for his powers based on his status as a god of order,^[4]and as the one who killed the great evil, an asura named Vritra, who obstructed human prosperity and happiness. Indra destroys Vritra and his "deceiving forces", and thereby brings rain and sunshine as the saviour of mankind.

Indra's significance diminishes in the post-Vedic Indian literature, but he still plays an important role in various mythological events. He is depicted as a powerful hero. According to the Vishnu Purana, Indra is the title borne by the king of the gods, which changes every Manvantara– a cyclic period of time in Hindu cosmology. Each Manvantara has its own Indra and the Indra of the current Manvantara is called Purandhara."

"Indra is also depicted in Buddhist (Pali:Indā)^[16][17]and Jain^[18]mythologies. Indra rules over the much-sought Devas realm of rebirth within the Samsara doctrine of Buddhist traditions.^[19]However, like the post-Vedic Hindu texts, Indra is also a subject of ridicule and reduced to a figurehead status in Buddhist texts,^[20]shown as a god who suffers rebirth.^[19]In Jain traditions, unlike Buddhism and Hinduism, Indra is not the king of gods, but the king of superhumans residing in Svarga-Loka, and very much a part of Jain rebirth cosmology.^[21]He is also the one who appears with his consort Indrani to celebrate the auspicious moments in the life of a Jain Tirthankara, an iconography that suggests the king and queen of superhumans residing in Svarga reverentially marking the spiritual journey of a Jain.^[22][23]He is a rough equivalent to Zeus in Greek mythology, or Jupiter in Roman mythology. Indra's powers are similar to other Indo-European deities such as Norse Odin, Perun, Perkūnas, Zalmoxis, Taranis, and Thor, part of the greater Proto-Indo-European mythology.

Indra's iconography shows him wielding his vajra and riding his vahana, Airavata.^[26][27]Indra's abode is in the capital city of Svarga, Amaravati, though he is also associated with Mount Meru (also called Sumeru)."

"Colonial era scholarship proposed that Indra shares etymological roots with Avestan Andra, Old High German*antra("giant"), or Old Church Slavonic jedru ("strong"), but Max Muller critiqued these proposals as untenable. Later scholarship has linked Vedic Indra to Aynar (the Great One) of Circassian, Abaza and Ubykh mythology, and Innara of Hittite mythology. Colarusso suggests a Pontic^[b]origin and that both the phonology and the context of Indra in Indian religions is best explained from Indo-Aryan roots and a Circassian etymology (i.e.*inra). Modern scholarship suggests the name originated at the Bactria–Margiana Archaeological Complex where the Aryans lived before settling in India."

"Indra is of ancient but unclear origin. Aspects of Indra as a deity are cognate to other Indo-European gods; there are thunder gods such as Thor, Perun, and Zeus who share parts of his heroic mythologies, act as king of gods, and all are linked to "rain and thunder".^[41]The similarities between Indra of Vedic mythology and of Thor of Nordic and Germanic mythologies are significant, states Max Müller. Both Indra and Thor are storm gods, with powers over lightning and thunder, both carry a hammer or an equivalent, for both the weapon returns to their hand after they hurl it, both are associated with bulls in the earliest layer of respective texts, both use thunder as a battle-cry, both are protectors of mankind, both are described with legends about "milking the cloud-cows", both are benevolent giants, gods of strength, of life, of marriage and the healing gods...."

"Indra is praised as the highest god in 250 hymns of the Rigveda– a Hindu scripture dated to have been composed sometime between 1700 and 1100 BCE. He is co-praised as the supreme in another 50 hymns, thus making him one of the most celebrated Vedic deities.^[32]He is also mentioned in ancient Indo-Iranian literature, but with a major inconsistency when contrasted with the Vedas. In the Vedic literature, Indra is a heroic god. In the Avestan (ancient, pre-Islamic Iranian) texts such asVd.10.9,Dk.9.3 andGbd27.6-34.27, Indra – or accurately Andra^[46]– is a gigantic demon who opposes truth.^[35][c]In the Vedic texts, Indra kills the archenemy and demon Vritra who threatens mankind. In the Avestan texts, Vritra is not found."

In Rigveda, Indra is described as strong willed, armed with a thunderbolt, riding a chariot:

5. Let bullish heaven strengthen you, the bull; as bull you travel with your two bullish fallow bays. As bull with a bullish chariot, well-lipped one, as bull with bullish will, you of the mace, set us up in loot.

— Rigveda, Book 5, Hymn 37: Jamison^[52]

Indra's weapon, which he used to kill the evil Vritra, is the vajra or thunderbolt. Other alternate iconographic symbolism for him includes a bow (sometimes as a colorful rainbow), a sword, a net, a noose, a hook, or a conch. The thunderbolt of Indra is called Bhaudhara (Vajra).^[54]

In the post-Vedic period, he rides a large, four-tusked white elephant called Airavata.^[26]In sculpture and relief artworks in temples, he typically sits on an elephant or is near one. When he is shown to have two, he holds the vajra and a bow. 

Indra was a prominent deity in the Historical Vedic religion.^[32]In Vedic times Indra was described in Rig Veda 6.30.4 as superior to any other god. Sayana in his commentary on Rig Veda 6.47.18 described Indra as assuming many forms, making Agni, Vishnu, and Rudra his illusory forms.^[57]

Over a quarter of the 1,028 hymns of the Rigveda mention Indra, making him the most referred to deity.^[32][58]These hymns present a complex picture of Indra, but some aspects of Indra are often repeated. Of these, the most common theme is where he as the god with thunderbolt kills the evil serpent Vritra that held back rains, and thus released rains and land nourishing rivers.^[30]For example, the Rigvedic hymn 1.32dedicated to Indra reads:

इन्द्रस्य नु वीर्याणि प्र वोचं यानि चकार प्रथमानि वज्री ।
अहन्नहिमन्वपस्ततर्द प्र वक्षणा अभिनत्पर्वतानाम् ॥१।।
अहन्नहिं पर्वते शिश्रियाणं त्वष्टास्मै वज्रं स्वर्यं ततक्ष ।
वाश्रा इव धेनवः स्यन्दमाना अञ्जः समुद्रमव जग्मुरापः ॥२।।

1. Now I shall proclaim the heroic deeds of Indra, those foremost deeds that the mace-wielder performed:
He smashed the serpent. He bored out the waters. He split the bellies of the mountains.
2. He smashed the serpent resting on the mountain—for him Tvaṣṭar had fashioned the resounding [sunlike] mace.
Like bellowing milk-cows, streaming out, the waters went straight down to the sea.^[60]

—Rigveda, 1.32.1–2^[59]

In the myth, Vṛtra has coiled around a mountain and has trapped all the waters, namely the Seven Rivers. All the gods abandon Indra out of fear of Vṛtra. Indra uses his vajra, a mace, to kill Vritra and smash open the mountains to release the waters. In some versions, he is aided by the Maruts or other deities, and sometimes cattle and the sun is also released from the mountain.^[61][62]In one interpretation by Oldenberg, the hymns are referring to the snaking thunderstorm clouds that gather with bellowing winds (Vritra), Indra is then seen as the storm god who intervenes in these clouds with his thunderbolts, which then release the rains nourishing the parched land, crops and thus humanity.^[63]In another interpretation by Hillebrandt, Indra is a symbolic sun god (Surya) and Vritra is a symbolic winter-giant (historic mini cycles of ice age, cold) in the earliest, not the later, hymns of Rigveda. The Vritra is an ice-demon of colder central Asia and northern latitudes, who holds back the water. Indra is the one who releases the water from the winter demon, an idea that later metamorphosed into his role as storm god.^[63]According to Griswold, this is not a completely convincing interpretation, because Indra is simultaneously a lightning god, a rain god and a river-helping god in the Vedas. Further, the Vritra demon that Indra slew is best understood as any obstruction, whether it be clouds that refuse to release rain or mountains or snow that hold back the water.^[63]Jamison and Brereton also state that Vritra is best understood as any obstacle. The Vritra myth is associated with the Midday Pressing of soma, which is dedicated to Indra or Indra and the Maruts.

Even though Indra is declared as the king of gods in some verses, there is no consistent subordination of other gods to Indra. In Vedic thought, all gods and goddesses are equivalent and aspects of the same eternal abstract Brahman, none consistently superior, none consistently inferior. All gods obey Indra, but all gods also obey Varuna, Vishnu, Rudra and others when the situation arises. Further, Indra also accepts and follows the instructions of Savitr (solar deity).^[64]Indra, like all Vedic deities, is a part of henotheistic theology of ancient India.^[65]

The second-most important myth about Indra is about the Vala cave. In this story, the Panis have stolen cattle and hidden them in the Vala cave. Here Indra utilizes the power of the songs he chants to split the cave open to release the cattle and dawn. He is accompanied in the cave by the Angirases (and sometimes Navagvas or the Daśagvas). Here Indra exemplifies his role as a priest-king, called bṛhaspati. Eventually later in the Rigveda, Bṛhaspati and Indra become separate deities as both Indra and the Vedic king lose their priestly functions. The Vala myth was associated with the Morning Pressing of soma, in which cattle was donated to priests, called dakṣiṇā.^[61]

Indra is not a visible object of nature in the Vedic texts, nor is he a personification of any object, but that agent which causes the lightning, the rains and the rivers to flow.^[66]His myths and adventures in the Vedic literature are numerous, ranging from harnessing the rains, cutting through mountains to help rivers flow, helping land becoming fertile, unleashing sun by defeating the clouds, warming the land by overcoming the winter forces, winning the light and dawn for mankind, putting milk in the cows, rejuvenating the immobile into something mobile and prosperous, and in general, he is depicted as removing any and all sorts of obstacles to human progress.^[67]The Vedic prayers to Indra, states Jan Gonda, generally ask "produce success of this rite, throw down those who hate the materialized Brahman".^[68]The hymns of Rigveda declare him to be the "king that moves and moves not", the friend of mankind who holds the different tribes on earth together.^[69]

Indra is often presented as the twin brother of Agni (fire) – another major Vedic deity.^[70]Yet, he is also presented to be the same, states Max Muller, as in Rigvedic hymn 2.1.3, which states, "Thou Agni, art Indra, a bull among all beings; thou art the wide-ruling Vishnu, worthy of adoration. Thou art the Brahman, (...)."^[71]He is also part of one of many Vedic trinities as "Agni, Indra and Surya", representing the "creator-maintainer-destroyer" aspects of existence in Hindu thought.

Revelations 12:7-12 states this: "7And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, 8And prevailed not; neither was their place found any more in heaven. 9And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him. 10And I heard a loud voice saying in heaven, Now is come salvation, and strength, and the kingdom of our God, and the power of his Christ: for the accuser of our brethren is cast down, which accused them before our God day and night. 11And they overcame him by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto the death. 12Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! for the devil is come down unto you, having great wrath, because he knoweth that he hath but a short time." 

Now, based from this battle details the war between two groups, as the war between the two groups who are the Suras and Asuras is where this story starts, but first when you see Michael stepping on the Dragon, this is merely Garuda stepping on the Naga to which connects to Genesis 3:15 “And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.”

Based from the verse Genesis 3:15 connects to the story of the enmity between the Garuda and the Nagas.

Based from the Wiki states this:

"Garuda is a Hindu deity who is primarily depicted as the mount (vahana) of the Hindu god Vishnu. This divine creature is mentioned in the Hindu, Buddhist, and Jain faiths. Garuda is also the half-brother of the Devas, Gandharvas, Daityas, Danavas, Nāgas, Vanara and Yakshas. He is the son of the sage Kashyapa and Vinata. He is the younger brother of Aruna, the charioteer of the Sun. Garuda is mentioned in several other texts such as the Puranas and the Vedas. Garuda is described as the king of the birds and a kite-like figure.^[7][8]He is shown either in a zoomorphic form (a giant bird with partially open wings) or an anthropomorphic form (a man with wings and some ornithic features). Garuda is generally portrayed as a protector with the power to swiftly travel anywhere, ever vigilant and an enemy of every serpent.He is also known as Tarkshya and Vainateya".

"In Hinduism, Garuda is a divine eagle-like sun bird and the king of birds. A Garutman is mentioned in the Rigveda who is described as celestial deva with wings. The Shatapatha Brahmana embedded inside the Yajurveda text mentions Garuda as the personification of courage. In the Mahabharata, Garutman is stated to be same as Garuda, then described as the one who is fast, who can shapeshift into any form and enter anywhere. He is a powerful creature in the epics, whose wing flapping can stop the spinning of heaven, earth and hell. He is described to be the vehicle mount of the Hindu godVishnu, and typically they are shown together. He is the younger brother of Aruna, who is a charioteer of the sun god, Surya. According to George Williams, Garuda has roots in the verb gri, or speak. He is a metaphor in the Vedic literature for Rik (rhythms), Saman (sounds),Yajna (sacrifices), and the atman (Self, deepest level of consciousness). In the Puranas, states Williams, Garuda becomes a literal embodiment of the idea, and the Self who attached to and inseparable from the Supreme Self (Vishnu). Though Garuda is an essential part of the Vaishnavism, he also features prominently in Shaivism, Shaiva texts such as the Garuda Tantra and Kirana Tantra, and Shiva temples as a bird and as a metaphor of atman."

"Garuda's mythology is linked to that of Aruna, the charioteer of the Hindu sun god Surya. Both Aruna and Garuda developed from an egg. According to one version related by George Williams, Kashyapa Prajapati's two wives Vinata and Kadru wanted to have children, and Kashyapa granted each of them a boon. Kadru asked for one thousand Nāga sons, while Vinata asked for just two, but each an equal to all of Kadru's thousand sons. Kashyapa blessed them, and then retreated to a forest to meditate. Later, Kadru gave birth to one thousand eggs, while Vinata gave birth to two eggs. After incubating them for five hundred years, Kadru's eggs hatched and out came her 1,000 sons. Vinata, eager for her own sons, impatiently broke one of her eggs. From this egg emerged the partially formed Aruna, looking radiant and reddish as the morning sun, but not as bright as the midday sun as he was promised to be. Aruna chided his mother Vinata for her impatience, and warned her to not break open the second egg, cursing her to be a slave until his brother rescued her. Aruna then left to become the charioteer of Surya, the sun god."

"Vinata waited, and after many years, the second egg hatched and Garuda was born. After losing a bet to Kadru through trickery, Vinata was forced to become her slave. Garuda later asked his brothers to free his mother from her slavery, to which they demanded Amrita from heaven. Garuda waged a war against gods with his extraordinary might and abilities, and defeated all of them, including Indra. He then took Indra's nectar vessel and flew back to earth. Vishnu then came to Garuda, and asked him to be his ride, to which he agreed. Indra requested that Garuda not give the Amrita to the Nagas though, as it would bring great trouble later, so they forged a plan. Upon reaching his brothers Garuda placed the vessel before them, and asked them to first purify themselves before drinking. Meanwhile, Jayanta (the son of Indra) stole the vessel back. On returning, the nagas were all devoured by Garuda."

"Some myths present Garuda as so massive that he can block out the sun. The text Garuda Purana is named after him. Garuda is presented in the Mahabharata as one who eats snake meat, such as the story about him planning to kill and eat Sumukha snake, where Indra intervenes. Garuda in anger, vaunt about his feats and compares himself to Indra's equal. Vishnu teaches a lesson to Garuda and cured his pride on might. Garudas are also a race of birds who devour snakes in the epic."

"The Suparṇākhyāna, a late Vedic period poem considered to be among the "earliest traces of epic poetry in India," relates the legend of Garuda, and provides the basis for a later, expanded version which appears within the Mahābhārata."

In "ancient-origins.net" details this: "Lei Gong and the Ministry of Thunder and Storms":

"Thunderstorms were one of the most powerful and frightening natural phenomena encountered by the ancients. However, it paradoxically also brought life-giving rain. The universal experience of thunder and lightning shared by cultures around the world gave rise to many corresponding legends, which explain these phenomena as caused by gods and spirits in the sky. Many similarities are found in the figures of the thunder gods or the personifications of the forces of thunder in different cultures around the world."

"Thunder gods such as Indra in Hindu mythology and Zeus in Greek mythology are so powerful that they were also known as the king of the gods. Inscriptions on the Boghazkoi clay tablets dated to about 1400 BC mentioned Indra reverentially as a deity as well as three other names. The names are Mitra (the god of light), Varuna (the god of sky and water) and Nasatya-Asvin (the youthful divine twin horsemen who travelled in a chariot drawn by horses that are never weary). With Indra, they are revered deities of the Vedic pantheon. Indra is the king of svarga(heaven) and the devas(deities). He is the god of the heavens, lightning, thunder, storms, rain, rivers and war. He is also celebrated as the one who kills the great symbolic evil named Vritra, who obstructs human prosperity and happiness. Indra's iconography shows him wielding a thunderbolt known as Vajra and riding on a white elephant known as Airvata. Indra's heavenly home is on Mount Meru."

"Zeus’ stories and powers are similar, though not identical to Indra. Living on Mount Olympus, Zeus was respected as an all father, chief of the gods. Pausanias observes that: “…Zeus is king in heaven, is a saying common to all men”. Zeus is also often depicted as carrying a thunderbolt. Despite not being the king of the gods, Norse mythology’s hammer-wielding Thor, with his power over lightning and thunder, was also described as a heroic leader and protector of mankind. Although Indra, Thor and Zeus are probably the most well-known, they are of course not the only thunder gods. A slightly more modest thunder god from Chinese mythology is Lei Gong, who carries a drum and a mallet to create thunder, and a chisel to punish any humans who have done wrong."

"Lei Gong is different from the other, more well-known, thunder gods as he is not as clearly defined as an individual god. To understand the reason for this, it is useful to first comprehend how the Chinese pantheon is organized. The Chinese religion recognizes three domains in the cosmos - heaven, earth and the underworld. Each domain is populated by a host of gods and goddesses. It also is helpful to understand that the social organization of the human government is the essential model that the ancient Chinese used when imagining the gods. Therefore, the ancient Chinese conception of gods is based on the Chinese bureaucracy. The heavenly domain is ruled by Yu Huang (the Jade Emperor) who presides over a court of deities worshipped throughout China. The Jade Emperor in heaven corresponds to Tianzi (the Son of Heaven), the sacred imperial title of the Chinese emperor who is believed to rule on earth. The title originated with the ancient Zhou dynasty (c. 1046 BC–256 BC). The Jade Emperor is in charge of a heavenly administration which are divided into bureaus and each god working under his leadership takes responsibility for a clearly defined function."

Then there is the Japanese version of the Garuda called "Karura", which is the bird like God in Japanese Lore. Here is what the Wiki states on this deity: "The Karura is a divine creature with human torso and birdlike head in Japanese mythology. The name is a transliteration of garuda, a race of enormously gigantic birds in Hinduism. The Japanese Buddhist version is based upon Hindu Mythology. The same creature may go by the name of konjichō (金翅鳥, lit. "gold-winged bird", Skr. suparṇa)."

"The karura is said to be enormous,[ fire-breathing, and to feed on dragons/serpents, just as Garuda is the bane of Nāgas. Only a dragon who possesses a Buddhist talisman, or one who has converted to the Buddhist teaching, can escape unharmed from the Karura. Shumisen or Mount Meru is said to be its habitat. Karura is one of the proselytized and converted creatures recruited to form a guardian unit called the Hachibushū (八部衆, "Devas of the Eight Classes")."

'One famous example is the Karura statue at Kōfuku-ji, Nara, amongst the eight deva statues presented at the Buddhābhiṣeka dated to the year Tenpyō 6 or 734, pictured top right). This karura is depicted as wearing Tang Chinese-style armor, and thus is seen wingless. But more conventionally, the Karura is depicted as a winged being with human torso and avian head, as in the Vajra Hall (Kongō buin (金剛部院)) section of the Womb Realm mandala (Taizōkai mandara (胎蔵界曼荼羅)) and other iconographic books and scrolls."

"The karura (garuda) mask is one of the stock character masks worn by performers of the ancient Japanese courtly dance art of gigaku. The flaming nimbus or halo is known by the name "karura flame" and typically seen adorning behind the statue of the Fudō-myōō (不動明王)). The karura is also said to be the prototype of the depictions of the tengu or karasutengu."

Based from other Bird mythology stories, there is "Leigong" and "Leizhenzi". It's shown that the Bird God can take the attribute of the thunder God attributes as well. Based from Leizhenzi states this in the Wiki:

"Leizhenzi (Chinese: 雷震子; pinyin: Léizhènzǐ) a character in the classic Chinese novel Investiture of the Gods (Fengshen Yanyi). Leizhenzi is a celestial being that had been created by a great thunderstorm at Mount Swallow. Ji Chang had been the one to first receive the small newborn and thus the baby became known as the third son of Ji Chang. However, Yunzhongzi would take the newborn in as his own disciple; for he was destined to assist in the creation of the new Zhou Dynasty. Seven years later, at a time in which Ji Chang was fleeing for his life from the capital after finally being freed, Leizhenzi, now seven, was sitting with his master, Yunzhongzi, atop Mount South End."

"Once Leizhenzi was told to assist his father, but first grab a hold of his weapon - which was by the cliff's edge - Leizhenzi looked everywhere in wonder. Soon enough, Leizhenzi found two large apricots at the edge of the cliff and ate them both with due haste. Immediately following this, to his surprise, two large wings suddenly sprouted from Leizhenzi's back and his face became like that of a monster's. Once Leizhenzi returned to his father, he received a golden rod as his weapon and was instructed to finally assist his father. Thus, once Leizhenzi met his father atop a mountain slope, he first dealt with General Lei and Yin by creating a rockslide with his golden rod. While hanging onto Leizhenzi's back, Leizhenzi then transported his father through the five mountain passes. With these words, Leizhenzi departed from his father: "My father, you are now safe. Now I must say good-bye and return to Mount South End. Please take care of yourself. I will see you again someday."

Based from "LieGong" states this: "Leigong (Chinese: 雷公; pinyin: léigōng; Wade–Giles: lei2 kung1; lit. 'Lord of Thunder') or Leishen (Chinese: 雷神; pinyin: léishén; lit. 'God of Thunder'), is the god of thunder in Chinese folk religion, Chinese mythology and Taoism. In Taoism, when so ordered by heaven, Leigong punishes both earthly mortals guilty of secret crimes and evil spirits who have used their knowledge of Taoism to harm human beings. He carries a drum and mallet to produce thunder, and a chisel to punish evildoers. Leigong rides a chariot driven by a young boy named A Xiang."

"Since Leigong's power is thunder, he has assistants capable of producing other types of heavenly phenomena. Leigong's wife Dianmu is the goddess of lightning, who is said to have used flashing mirrors to send bolts of lightning across the sky. Other companions are Yun Tong ("Cloud Youth"), who whips up clouds, and Yu Shi ("Rain Master") who causes downpours by dipping his sword into a pot. Roaring winds rush forth from a type of goatskin bag manipulated by Fengbo ("Earl of Wind"), who was later transformed into Feng Po Po ("Lady Wind").

Based from "Dapeng Jinchi Mingwang" states this excerpt: "Dapeng Jinchi Mingwang" The Golden-Winged King of Illumination'), also known as the Golden-Winged Great Peng is a guardian deity in Mahayana Buddhism.....

Legends:.....According to martial arts master Liang Shouyu's book, "[A] Dapeng is a great bird that lived in ancient China. Legend has it, that Dapeng was the guardian that stayed above the head of Gautama Buddha. Dapeng could get rid of all evil in any area. Even the Monkey King was no match for it. During the Song dynasty, the government was corrupt and foreigners were constantly invading China. The Buddha sent Dapeng to earth to protect China. Dapeng descended to Earth and was born as Yue Fei."

Journey to the West: "Peng is an antagonist in the 16th-century Chinese classic novel Journey to the West. He is a demonic eagle born from the primordial Phoenix. The Buddha gave the Eagle a high position in Heaven which only served to fuel his ego. For an unknown reason, the Eagle transformed himself into a humanoid form, the Golden Winged Great Peng, ate all residents of the Lion Camel Kingdom, ruled it for 500 years, and befriended the Azure Lion Demon and the Yellow-Toothed Elephant Demon to eat Tang Sanzang. Great Peng's powers and position of being the Buddha's uncle fuel his ego as he regarded himself above everyone else. He is armed with a ji and can fly over great distances. Peng has a Flask of Yin and Yang Essence (陰陽二氣瓶) which can suck in unsuspecting victims."

"Peng made several plans to capture Tang Sanzang and his companions, and successfully captured Sun Wukong himself. After many humiliating failures under the hand of the three demon kings, Wukong approached the Buddha for help and learned the backstory about Peng. After Wukong and the three demons battle, both the Lion and the Elephant are forced to revert to their original forms, and the Buddha shows up to subdue Peng and return him to Vulture Peak.

After his defeat at the Buddha's hand, Peng admits that he enjoys his demonic life eating humans, but after listening to the Buddha, Peng has no choice but to abandon his evil ways, redeeming himself in the process. After some struggle, the eagle Peng agrees to become a protector of Buddhist law. Much later, Sanzang and his companion received scriptures, and the Buddha, knowing them to be the scriptures without text, ordered the eagle to chase them and destroy the fake scriptures, which the eagle does promptly. As such, Chinese fiction portrays Peng as a powerful demon king that submits to the Buddha and perches above his throne as a hot-tempered guardian deity."

Then comes Gonggong is known from the late Warring States period (before 221 BC). Gonggong appears in the ancient "Heavenly Questions" (Tianwen) poem of the Chu Ci, where he is blamed for knocking the Earth's axis off center, causing it to tilt to the southeast and the sky to tilt to the northwest.^[2]This axial tilt is used to explain why the rivers of China generally flow to the southeast, especially the Yangzi River and the Yellow River, and why the Sun, Moon, and stars move towards the northwest. Literature from the Han dynasty becomes much more detailed regarding Gonggong. Gonggong was credited in various mythological contexts as being responsible for great floods, often in concert with his minister Xiangliu (a.k.a. Xiangyao), who has nine heads and the body of a snake. Gonggong was ashamed that he lost the fight with Zhurong, the Chinese god of fire, to claim the throne of Heaven. In a fit of rage, he smashed his head against Buzhou Mountain, one of eight pillars holding up the sky, greatly damaging it and causing the sky to tilt towards the northwest and the Earth to shift to the southeast, which caused great floods and suffering. In one account of the myth, Gong gong kills himself in the process and fire comes out of the shattered mountain alongside floods.

The story of Zhurong the fire deity who battles Gong Gong is based on Indra who battles against Vritrasura and Garuda vs the Naga. 

Based on the Vermillion bird states this:

"The Vermilion Bird (Chinese: 朱雀 Zhūquè) is one of the Four Symbols of the Chinese constellations. According to Wu Xing, the Taoist five-elemental system, it represents the fire-element, the direction south, and the season summer correspondingly. Thus it is sometimes called the Vermilion Bird of the South (Chinese: 南方朱雀, Nán Fāng Zhū Què)."

"It is known as Zhuque in Chinese, Suzaku in Japanese, Jujak in Korean and Chu Tước in Vietnamese. It is described as a red bird that resembles a pheasant with a five-colored plumage and is perpetually covered in flames. It is often mistaken for the Fenghuang due to similarities in appearance, but the two are different creatures."

"The Fenghuang is a legendary ruler of birds who is associated with the Chinese Empress in the same way the dragon is associated with the Emperor, while the Vermilion Bird is a mythological spirit creature of the Chinese constellations....The Vermilion Bird is elegant and noble in both appearance and behavior, with feathers in many different hues of vermilion. It is very selective about what it eats and where it perches."

"Fenghuang, known in Japanese as Hō-ō or Hou-ou, are mythological birds found in East Asian mythology that reign over all other birds. The males were originally called feng and the females huang but such a distinction of gender is often no longer made and they are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which is traditionally deemed male."

"The fenghuang is also called the "August Rooster" since it sometimes takes the place of the Rooster in the Chinese zodiac. In the Western world, it is commonly called the Chinese phoenix or simply Phoenix, although mythological similarities with the Western phoenix are superficial."

Then states this: "赤帝 Chìdì — Red Deity, the Nándì (帝 "South Deity") or Nányuèdàdì (南岳大帝 "Great Deity of the Southern Peak"): he is Shennong (the "Divine Farmer"), the Yandi ("Fiery Deity"), associated with the essence of fire and summer, and with Mars. His animal form is the Red Dragon and his stellar animal is the phoenix. He is the god of agriculture, animal husbandry, medicinal plants and market."

Now, it's mentioned in "Thoughtco.com/the Phoenix" details this about the Phoenix: "...According to the most popular variant of the phoenix, the bird lives in Arabia for 500 years at the end of which, it burns itself and its nest. In the version described by Clement, an ante-Nicene (basically, before Constantine legalized Christianity in the Roman Empire) Christian theologian, the phoenix' nest is made of frankincense, myrrh, and spices. A new bird always rises from the ashes."

Passage From Pliny": "Ethiopia and India, more especially, produce1 birds of diversified plumage, and such as quite surpass all description. In the front rank of these is the phœnix, that famous bird of Arabia; though I am not quite sure that its existence is not all a fable. It is said that there is only one in existence in the whole world, and that that one has not been seen very often."

"We are told that this bird is of the size of an eagle, and has a brilliant golden plumage around the neck, while the rest of the body is of a purple colour; except the tail, which is azure, with long feathers intermingled of a roseate hue; the throat is adorned with a crest, and the head with a tuft of feathers."

"The first Roman who described this bird, and who has done so with the greatest exactness, was the senator Manilius, so famous for his learning; which he owed, too, to the instructions of no teacher. He tells us that no person has ever seen this bird eat, that in Arabia it is looked upon as sacred to the sun, that it lives five hundred and forty years, that when it becomes old it builds a nest of cassia and sprigs of incense, which it fills with perfumes, and then lays its body down upon them to die; that from its bones and marrow there springs at first a sort of small worm, which in time changes into a little bird: that the first thing that it does is to perform the obsequies of its predecessor, and to carry the nest entire to the city of the Sun near Panchaia, and there deposit it upon the altar of that divinity."

Based from the website "onmarkproductions.com states this on Garuda who is Karura in the Japanese version: 

Karura 迦楼羅

Sanskrit = Garuḍa (the Devourer), Chinese = Jiālóuluó

Japanese = Karura, Korean = 가루라, Tibet = Khyung

A mythical bird-man creature of Hindu lore who was later adopted into the Buddhist pantheon as a protector deity. The gold-colored Garuda (Skt.) has a human body but the wings, face, and beak of an eagle-like bird. In early Hindu literature, Garuda is granted immortality by Lord Vishnu and serves asVishnu’s mount (avatar). In Tibetan tradition, Garuda is a mythical bird, similar to an eagle, but of gigantic proportions, able to block the sunlight with its size. In Japan, Garuda is an enormous fire-breathing eagle-man with golden feathers and magic gems crowning its head. Garuda’s various attributes are:

• Personifies the blazing rays of sun, the wind, and the esoteric teachings of the Vedas (Indian texts of sacred knowledge).
• Fierce bird of prey, variously described as an eagle, hawk, or kite. Can spew fire from mouth; flapping of wings sounds like clap of thunder.
• Mortal Enemy of the naga, a Hindu group including serpents &dragons. Karura feeds on the naga.
• Only naga who possess a Buddhist talisman, or naga who have converted to Buddhism, can escape from the naga-eating Karura. <Source:Flammarion>
• Karura’s hatred of the naga stems from an ancient feud between Karura’s mother (Skt. Vinata) and her sister (the mother of thenaga).
• First to teach mankind how to cure snake poison.
• In Vedic and Hindu mythology, Karura steals the nectar of immortality from Indra in order to gain the release of his enslaved mother. The pot of nectar is eventually returned to Indra, on condition that Indra grant Karura permission to feed on naga.
• In the Purana (religious texts of ancient Hindu myths), Karura accidentally drops the bile of a slain Ashura; the bile falls to earth where it solidifies into veins of emerald. This story sparked the belief that touching emeralds neutralizes any poison.
• In Southeast Asia the walls of temples are often decorated with Karura, as at Angkor and Java
• Carries the sacred Nyoi Hōju 如意宝珠 (Chn. = Rúyì 如意) jewel on its neck. This pearl is said to grant every wish and remove every suffering. According to legend, this jewel emerged from the head of the dragon king 竜王. <Sources:JAANUS and Digital Dictionary of Chinese Buddhism>
• Garuda is sometimes translated into English as griffin. <Source:Digital Dictionary of Chinese Buddhism; sign in with user name “guest”>
• In Japanese art, Karura is depicted as an ornate bird with human head; sometimes shown treading on serpents or holding serpents. Karura does not appear often in Japanese Buddhist sculpture, and is rarely the object of central devotion.
• In Japanese art, Karura is one of the33 Manifestations of Kannon Bodhisattva. See photo below.
• Like the Phoenix, Garuḍa is associated with fire and serves as a symbol of flame (said to represent the purification of the mind by the burning away of all material desires). In Japan, the term Karura-en 迦楼羅焔 refers to the flames spewed from Karura’s mouth, while the term Karura Enkō 迦楼羅焔光 refers to the feiry halo (kaen kōhai 火焔光背) often attached to statues of Fudō Myō-ō. Some say Fudō’s customary flame halo originated from the vomit of Karura, while others say the halo resembles Karura’s outstretched wings. Karura’s head is sometimes depicted on Fudō’s halo as well. <Source: JAANUS>
• There is a great deal of confusion about Karura and the mythical Phoenix. Many web sites refer to the Karura as Phoenix, and vice versa, but this is wrong. The two are different mythical creatures.
• Garuda is the national symbol of both Thailand and Indonesia. The national airline of Indonesian, moreover, is named Garuda Indonesia.

Based from "chinese.mythologyworldwide.com" on "the-story-of-the-thunder-god-master-of-storms" details this segment: "The Story of the Thunder God: Master of Storms.

Introduction to the Thunder God in Chinese Mythology:

"Chinese mythology is a rich tapestry of tales and deities that reflect the values, beliefs, and cultural heritage of ancient China. It serves not only as entertainment but also as a means to understand the world and the forces of nature. Among the various deities, the Thunder God holds a significant place, representing the awe-inspiring power of storms and the natural world. The Thunder God, known as Lei Gong (雷公), is a prominent figure in these mythological narratives. He is revered as the master of thunder and storms, embodying the might and unpredictability of nature. His stories are not just tales of power but also lessons about respect for nature and the moral order of the universe."

The Thunder God has deep roots in ancient Chinese texts, with references found in works such as the “Shan Hai Jing” (Classic of Mountains and Seas) and the “Li Ji” (Book of Rites). Historically, Lei Gong was viewed as a powerful deity who governed the skies and weather, and his character evolved over centuries. Across various regions in China, the Thunder God is known by different names and is represented in diverse ways. Some of the notable names include:

• Lei Gong (雷公) – The traditional name for the Thunder God.
• Lei Zhenzi (雷震子) – A legendary figure often associated with thunder.
• Various regional deities – Different provinces may have local interpretations or manifestations of the Thunder God.

In Chinese culture, thunder and storms symbolize strength, transformation, and the duality of nature. The Thunder God plays a crucial role in this symbolism, serving as a reminder of both the beauty and danger of the natural world. His power is often associated with:

• Fertility and growth – Rain and storms are seen as necessary for agriculture.
• Fear and respect – Thunder is a powerful force that commands awe.

As a controller of weather phenomena, Lei Gong is believed to influence the balance of nature, ensuring that storms bring rain without causing devastation. His role emphasizes the harmony that must exist between humanity and the environment.

Numerous myths and legends feature the Thunder God, each illustrating important moral lessons. One notable story recounts Lei Gong’s battle against the evil spirit Drought Demon, who sought to bring famine by preventing rain. With his thunder and lightning, Lei Gong fought valiantly, restoring balance and ensuring prosperity for the people. Throughout these tales, the Thunder God often interacts with other deities, such as:

• Shui Mu (Water Mother) – Often depicted as a counterpart, representing water’s nurturing aspects.
• Yin and Yang deities – To illustrate the balance between opposing forces.

These interactions underscore the interconnectedness of the natural elements and the importance of balance in the universe.

In traditional Chinese culture, various celebrations honor the Thunder God, particularly during the rainy season when his powers are most felt. Festivals often include:

• Offerings of food and incense to appease the Thunder God.
• Processions and performances that depict his myths and legends.

Rituals and practices associated with seeking Lei Gong’s favor include:

• Prayers for rain during droughts.
• Festivals marking the arrival of storms, celebrating the blessings they bring.

These customs reflect a deep respect for the natural world and an understanding of the Thunder God’s vital role in sustaining life.

In traditional Chinese art and literature, the Thunder God is depicted in various forms, often illustrated with a fierce expression, holding a mallet or drum to symbolize thunder. His imagery can be found in:

• Paintings that celebrate stormy landscapes.
• Literary works that explore the themes of nature’s power and its moral implications.

In modern interpretations, the Thunder God has influenced popular culture, appearing in films, television series, and video games, where he is often reimagined as a character with immense power, drawing on his mythological roots.

Today, the Thunder God continues to resonate in modern Chinese folklore and beliefs. Many people still invoke Lei Gong during storms, expressing hopes for rain and protection from natural disasters. His legacy also promotes:

• A heightened environmental awareness, reminding individuals of the importance of respecting nature.
• A cultural identity that ties contemporary practices to ancient beliefs.

The Thunder God serves as a bridge between the past and present, illustrating how ancient myths can inform modern understandings of our environment.

In summary, the Thunder God holds a significant place in Chinese mythology, embodying the power of nature and the moral lessons derived from it. His stories remind us of the delicate balance within the natural world and the respect it commands. The enduring power of myth, as exemplified by the Thunder God, continues to shape cultural identities and our understanding of the phenomena that govern our lives.

Based from "learnreligions.com" states this on Michael the Archangel:

The archangel Michael is another top-ranking angel in the Islamic angelic hierarchy. Muslims view Michael as an angel of mercy and believe that God has assigned Michael to reward righteous people for the good they do during their earthly lifetimes. God also charges Michael with sending rain, thunder, and lightning to the Earth, according to Islam. The Qur’an mentions Michael when it warns in Al-Baqara 2:98: “Whoever is an enemy to God and his angels and his apostles, to Gabriel and Michael -- lo! God is an enemy to those who reject the faith.”

Based from copilot answer states this: "In Islam, Archangel Michael (Mikail) is a significant figure responsible for providing sustenance and overseeing natural phenomena, mentioned once in the Quran.

Role and Significance:

"Mikail's Duties: In Islamic tradition, Mikail is tasked with overseeing the provision of sustenance (rizq) to all living beings, including humans, animals, and plants. He is also associated with natural events such as rain. This role emphasizes his importance in maintaining the balance of nature and supporting life on Earth."

Now, based on the Quran there are other statements detailing how there are no significant thunder and lightning tributed towards Michael the Archangel. However, based from symbolism and how Michael the Archangel is Indra amongst Hinduism (and other epithets in other Mythologies) it's shown that the battle between the Angels and the Jinn race is based on the Hindu Devas and the Asuras to the Gods vs the Titans.

Now, here in "nativeamerican.mythologyworldwide.com" states this on "The Legend of the Apache Thunder God: Master of Storm":

"Native American mythology is a rich tapestry of stories, symbols, and beliefs that vary widely among the numerous tribes across North America. Each tribe has its own unique set of deities and legendary figures, embodying the values and natural world that shape their culture. Among these diverse traditions, the Apache culture stands out with its deep reverence for nature and the spiritual forces that govern it. Central to Apache mythology is the Thunder God, a powerful figure representing the storm, rain, and the life-giving elements associated with them. This deity not only embodies the forces of nature but also plays a crucial role in the spiritual and cultural identity of the Apache people."

"The Apache Thunder God has rich and varied origins in the creation stories that are pivotal to Apache cosmology. These stories often depict the Thunder God as a potent force that was born out of the chaos of creation, harnessing the power of storms to bring balance to the world. In Apache tradition, the Thunder God is often associated with other important deities and spirits, creating a vast network of relationships that define the spiritual landscape. His connection to the earth and sky reflects the interconnectedness of all life, a theme prevalent throughout Native American beliefs."

The Thunder God is described in various ways, often depicted as a powerful figure with a commanding presence. His physical characteristics may include:

• Dark, swirling clouds surrounding him
• Brilliant flashes of lightning emanating from his body
• A booming voice that resonates like thunder

"His powers are vast and include the ability to control storms, summon rain, and generate lightning. To the Apache people, thunder is not merely a natural phenomenon but a profound symbol of strength and renewal, embodying both the ferocity and nurturing aspects of nature."

Throughout Apache folklore, the Thunder God appears in numerous myths and legends, often engaging in epic battles against malevolent spirits that threaten the balance of nature. Some key stories include:

• The Thunder God’s confrontation with the Water Monster, which sought to hoard all the water for itself.
• His role in the creation of mountains and valleys, shaping the landscape during his storms.
• Legends of his travels across the sky, where he leaves trails of lightning that narrate his journeys.

"These stories not only entertain but also teach important lessons about respect for nature and the consequences of disrupting the balance of life."

To the Apache, the Thunder God is more than just a deity; he is a protector and provider. His ability to bring rain is essential for agriculture and survival, making him a central figure in their daily lives and spiritual practices. The Apache people express their gratitude and seek favor through:

• Rituals and ceremonies dedicated to honoring the Thunder God
• Prayers for rain, particularly during times of drought
• Stories passed down through generations that reinforce his importance

"The Thunder God plays a vital role in shaping Apache cultural identity, acting as a symbol of resilience and the enduring connection between the people and the natural world."

Ceremonies honoring the Thunder God are integral to Apache spirituality. Specific rituals include:

• Rain Dances: These dances are performed with the belief that they will invoke the Thunder God’s blessings, ensuring rainfall for crops and sustenance.
• Offerings and Prayers: The Apache people often leave offerings of food and other items at sacred sites, accompanied by prayers that express their respect and desire for harmony with the forces of nature.

"These practices not only serve to strengthen the community’s bond with the Thunder God but also ensure the continuity of traditions that have been passed down through generations."

The Thunder God has significantly influenced Apache art and literature. His imagery can be found in various forms, such as:

• Petroglyphs: Ancient rock carvings that depict storm symbols and representations of the Thunder God.
• Pottery: Traditional pottery often features designs that reflect nature and the elements associated with the Thunder God.
• Storytelling: Oral traditions that include tales of the Thunder God are vital for preserving Apache culture and imparting moral lessons.

"In contemporary literature, the Thunder God is sometimes reinterpreted, reflecting modern themes while still honoring traditional beliefs and narratives."

"The Apache Thunder God stands as a powerful symbol of nature’s duality, representing both the destructive and nurturing forces of storms. His significance in Apache mythology underscores the deep spiritual connection the people have with the environment. As contemporary Apache culture continues to evolve, the legacy of the Thunder God remains an enduring aspect of their identity and beliefs.

Exploring Native American mythology, with figures like the Thunder God, opens a window into rich narratives that reveal the values, history, and spiritual insights of these diverse cultures. It encourages a deeper understanding of the relationship between humanity and the natural world, a lesson as relevant today as it was in ancient times."

Then the story of Vritra states this: "Vritra (Sanskrit: वृत्र, vṛtra, lit. "enveloper") is a Vedic serpent or dragon in Hinduism, the personification of drought and adversary of Indra. Vritra is identified as an Asura. Vritra was also known in the Vedas as Ahi (Sanskrit: अहि ahi, lit. "snake"). He appears as a dragon blocking the course of the rivers and is heroically slain by Indra....This particular myth of a storm god like Indra slaying a monster serpent is present in many Indo-European cultures. For example, the Norse storm god Thor slays the world serpent Jörmungandr and the Greek sky and weather god Zeus battles the serpentine Typhon. In addition, this myth extends beyond Indo-European cultures, being found as far afield as Japanese Shintoism, where the storm god Susano'o slays the eight-headed serpent Yamata-no-Orochi."

"According to the Rig Veda, Vritra kept the waters of the world captive until he was killed by Indra, who destroyed all the 99 fortresses of Vritra (although the fortresses are sometimes attributed to Sambara) before liberating the imprisoned rivers. The combat began soon after Indra was born, and he had drunk a large volume of Soma at Tvashtri's house to empower him before facing Vritra."

"Tvashtri fashioned the thunderbolt (Vajrayudha) for Indra, and Vishnu, when asked to do so by Indra, made space for the battle by taking the three great strides for which Vishnu became famous. Vritra broke Indra's two jaws during the battle, but was then thrown down by Indra and, in falling, crushed the fortresses that had already been shattered. For this feat, Indra became known as "Vṛtrahan" (lit. "Slayer of Vritra" and also as "slayer of the first-born of dragons").

"Vritra's mother, Danu, who was also the mother of the Dānava race of Asuras, was then attacked and defeated by Indra with his thunderbolt. In one of the versions of the story, three Devas – Varuna, Soma and Agni – were coaxed by Indra into aiding him in the fight against Vritra, whereas before they had been on the side of Vritra (whom they called "Father"). In one verse of a Rig-Vedic hymn eulogizing Sarasvati, she is portrayed as the one who slayed Vritra. Mention of this occurs nowhere else."

(Below describes the Dragon Vritra as having "Red hair". Even in the Show called "Shiva Puran" Episode 21 details Vritra having red hair in live action)

Now, based on the story of Susna the serpent of Drought states this in the Wiki:

"Susna is an asura described in Hindu texts. Normally associated with drought, Susna is often described as possessing a snake-like form with horns. He is an enemy of the deity Indra. Susna means "drought" from the root Sus, which translates to "dry up". The similar "sosna" is an old Slavic word for the pine tree. 

In Hinduism, Susna is an asura commonly associated with drought, famine, and hoarding.^[2]An enemy of Indra, the asura makes multiple appearances across a number of Vedic texts. He is often associated with Vritra, another asura which obstructs the rivers of the world.^[3]

In the Rigveda, Susna is described as being a "child of mists" similar to Vritra, a massive dragon who blocks the rivers of the world.^[4]Like Vritra, Susna is seen as a causer of drought and as a foe of Indra. However, while Indra is able to kill Vritra with a thunderbolt, Susna must be destroyed by returning water to the land. To defeat the asura, Indra destroys Susna's fortress, and, at the request of his follower Kutsa, sends rains to end the drought, defeating the asura.^[3]One passage from the text notes Indra "made flow the springs restrained by the season through killing Susna, the child of mists."^[3]

In the Brahmana and Yajurveda texts within the Vedas, Susna is described as being a bitter enemy (dasa)^[4]of the god Indra. Susna, who is described as a horned serpent-asura, aids the Asuras in their war against Indra and his fellow devas. Whenever an asura is killed in battle, Susna uses his mystical breath (which contains the essence of the amrta, the elixir of immortality) to restore the fallen warrior to life. Indra discovers these resurrections and plots to steal the amrta for himself and his fellow devas. Thus, Indra turns himself into a globule of honey and allows the asura to consume him. Once inside of Susna's stomach, Indra turns into a falcon^[5](or eagle),^[6]snatches the amrta from the asura's mouth, and escapes to deliver the prize to the other devas.

Now here is an interesting segment from Blavatsky's "The Secret Doctrine" stating this: [[Vol. 2, Page]] 381 THE THEFT OF RAHU. "Let us take Agni the fire-god, Indra the firmament, and Karttikeya from the Hindus; the Greek Apollo; and Mikael, the "Angel of the Sun," the first of the AEons, called by the Gnostics "the saviour" -- and proceed in order. (1) Agni -- the fire-god -- is called in the Rig-Veda Vaiswanara. Now Vaisvanara is a Danava -- a giant demon,* whose daughters Puloma and Kalaka are the mothers of numberless Danavas (30 millions), by Kasyapa,* and live in Hiranyapura, "the golden city," floating in the air."

"Therefore, Indra is, in a fashion, the step-son of these two as a son of Kasyapa; and Kasyapa is, in this sense, identical with Agni, the fire-god, or Sun (Kasyapa-Aditya). To this same group belongs Skanda or Karttikeya (god of War, the six-faced planet Mars astronomically), a Kumara, or virgin-youth, born of Agni** for the purpose of destroying Taraka, the Danava Demon, the grandson of Kasyapa by Hiranyaksha, his son,*** whose (Taraka's) yogi austerities were so extraordinary that they became formidable to the gods, who feared such a rival in power."

"While Indra, the bright god of the Firmament, kills Vritra (or Ahi), the Serpent-Demon -- for which feat he is called Vritra-han, "the destroyer of Vritra"; he also leads the hosts of Devas (Angels or gods) against other gods who rebel against Brahma, for which he is entitled Jishnu, "leader of the celestial Host." Karttikeya is found bearing the same titles. For killing Taraka, the Danava, he is Taraka-Jit, "Vanquisher of Taraka,"***** "Kumara Guha," "the mysterious Virgin-youth" "Siddha-Sena" -- "the leader of the Siddhas"; and Saktidhara -- "Spear-holder." (Notes: "All such stories differ in the exoteric texts. In the Mahabharata, Karttikeya, "the six-faced Mars," is the son of Rudra or Siva, Self-born without a mother from the seed of Siva cast into the fire. But Karttikeya is generally called Agnibhu, "fire born."

"The story told is, that Taraka (called also Kalabhana), owing to his extraordinary Yoga-powers, had obtained all the divine knowledge of yoga-vidya and occult powers of the gods, who conspired against him. Here we see the "obedient" Host of Archangels or minor gods conspiring against the (future) Fallen angels, whom Enoch accuses of the great crime of disclosing to the world all "the secret things done in heaven." It is Michael, Gabriel, Raphael, Surgal and Uriel who denounced to the Lord God those of their Brethren who were said to have pried into the divine mysteries and taught them to men: by this means they themselves escaped a like punishment. Michael was commissioned to fight the Dragon, and so was Karttikeya, and under the same circumstances. Both are "leaders of the Celestial Host," both Virgins, both "leaders of Saints," "Spear-holders" (Saktidhara), etc., etc. Karttikeya is the original of Michael and St. George, as surely as Indra is the prototype of Karttikeya.") (2.)

"Now take Apollo, the Grecian sun-god, and by comparing the mythical accounts given of him, see whether he does not answer both to Indra, Karttikeya, and even Kasyapa-Aditya, and at the same time to Michael (as the Angelic form of Jehovah) the "angel of the Sun," who is "like," and "one with, God."

"Later ingenious interpretations for monotheistic purposes, elevated though they be into not-to-be questioned Church dogmas, prove nothing, except the abuse of human authority and power, perhaps. Apollo is Helios (the Sun), Phoibus-Apollo ("the light of life and of the World"*) who arises out of the golden-winged cup (the sun); hence he is the sun-god par excellence."

"At the moment of his birth he asks for his bow to kill Python, the Demon Dragon, who attacked his mother before his birth,** and whom he is divinely commissioned to destroy -- like Karttikeya, who is born for the purpose of killing Taraka, the too holy and wise demon."

"Apollo is born on a sidereal island called Asteria -- "the golden star island," the "earth which floats in the air," which is the Hindu golden Hiranyapura; "he is called the pure, [[agnos]], Agnus Dei (the Indian Agni, as Dr. Kenealy thinks), and in the primal myth he is exempt "from all sensual love" ("Book of God," p. 88). He is, therefore, a Kumara, like Karttikeya, and as Indra was in his earlier life and biographies."

"Python, moreover, the "red Dragon," connects Apollo with Michael, who fights the Apocalyptic Dragon, who wants to attack the woman in child-birth (See Revelation xii.), as Python attacks Apollo's mother. Can any one fail to see the identity? Had the Rt. Hon. W. E. Gladstone, who prides himself on his Greek scholarship and understanding of the spirit of Homer's allegories, ever had a real inkling of the esoteric meaning of the Iliad and Odyssey, he would have understood St. John's "Revelation," and even the Pentateuch, better than he does. For the way to the Bible lies through Hermes, Bel, and Homer, as the way to these is through the Hindu and Chaldean religious symbols."

Based from Madame Blavatsky states in the book "The Secret Doctrine" XI. DEMON EST DEUS INVERSUS. [[Vol. 1, Page]] 418 THE SECRET DOCTRINE. details this interesting segment:

"...At the same time they show that Michael, "the generalissimos of the fighting Celestial Host, the bodyguard of Jehovah," as it would seem (see de Mirville) is also a Titan, only with the adjective of "divine" before the cognomen. Thus those "Uranides" who are called everywhere "divine Titans," and who, having rebelled against Kronos (Saturn), are therefore also shown to be the enemies of Samael (an Elohim, also and synonymous with Jehovah in his collectivity), are identical with Michael and his host."

"In short, the roles are reversed, all the combatants are confused, and no student is able to distinguish clearly which is which. Esoteric explanation may, however, bring some order into this confusion, in which Jehovah becomes Saturn, and Michael (As Zeus) and his army, Satan and the rebellious angels, owing to the indiscreet endeavours of the too faithful zealots to see in every pagan god a devil. The true meaning is far more philosophical, and the legend of the first "Fall" (of the angels) assumes a scientific colouring when correctly understood."

"The Titans of Hesiod's Theogony were copied in Greece from the Suras and Asuras of India. These Hesiodic Titans, the Uranides, numbered once upon a time as only six, have been recently discovered to be seven -- the seventh being called Phoreg -- in an old fragment relating to the Greek myth. Thus their identity with the Seven rectors is fully demonstrated. The origin of the "War in Heaven" and the FALL has, in our mind, to be traced unavoidably to India, and perhaps far earlier than the Puranic accounts thereof. For TARAMAYA was in a later age, and there are three accounts, each of a distinct war, to be traced in almost every Cosmogony."

This is correct that the "Theogony of Hesiod" is based on the Hindu story on the war between the Suras (Devas) and Asuras (Danavas). Though she based Kartikeya with Agni as the Sun, she also states that Agni was called "Vaisvanara" which is a Danava a Demon race are basically the Asuras. It would mean that just as the Devas overthrew the Asuras, the Greek Gods overthrowing the Titans, is dethroning the older or original generation. However, this is merely from the post Vedic story of Kashyapa which is different than the story of Satan being taken up to Heaven.

Now, amongst the Hindu stories, it's said that Murugan is Agni’s son, who then would defeat the demon wreaking havoc in heaven and would be born from the reeds of the marsh. Shiva as the post Vedic version of Agni, was said to have Murugan without conception from his wife Parvati when they were in the reeds (doing business), only then Murugan was born as a virgin yogi to fight the demon.

In the Sumerian myths tells of Enlil who was doing some “business” with his wife in the waters and had conceived the moon god Sin (which would be the epithet of Nergal). The Zulu myth of Unkulunkulu, tells of him being conceived from his father Umvelinqanqi and the marsh goddess Uhlanga among the reeds.

Then there is the story of Athena the Virgin goddess and Hephaestus. The story states that Hephaestus tries to rape Athena as he was infatuated with her, but his seed goes upon her leg, and thus she takes it and throws it into the ground, to which the seed comes forth Erichthonius.

In the Set and Horus story states that when Set (as Hephaestus) tried to rape Horus (as Athena), Horus catches his seed and puts it into Set's favorite food (Lettuce made by Isis). However, after Set eats it, he then gets a headache and (as one version states) a sun disk comes forth out of him. Then in another version of this story states that Thoth emerges from his forehead.

In the Sumerian story of Enki also details him and the spider deity Utu (Athena's symbol). It states that he tries to rape her, but his seed is taken and given to Ninhursag his wife, who then throws it onto the ground and out sprouts eight plants. Enki then eats the plants and gets sick, but Ninhursag then heals him and takes the seed giving birth to eight gods. This is synonymous to Kagu-Tsuchi being cut up into eight pieces by Izanagi, to whom the eight gods are born.

In the Greek mythos states that Zeus didn't want his unborn Child from Metis to overthrow him. So, he tells Metis to turn into water, to which he swallows her in the form of the water. Later, Zeus gets a headache and then asks Hephaestus to open a cleft in his skull. Then after it was done, the Goddess Athena is then born from the forehead of Zeus. You can see the correlations between one God being born is a similar manner.

In Job 41 details the proud dragon Leviathan may connect to Vritra as the Rig Vedas states. This is the similar to Horus or Ra of the thunder and rain fighting against Set as Apep of the red desert, as one represents the fertile lands of Egypt and the other the dry desert. All the myths would detail the battle between the two gods, the one good and the other evil (depending on source as the roles in elements are switched).

Then there is the meso-American birth of Huitzilopochtli, who came out of his mother Coatlicue in full armor and weapons. He goes out to defeat the leader Coyolxauhqui and the 400 Huiztnauas (warriors), by cutting the leaders head off and her body into pieces. This is similar to the story of Quetzalcoatl or Kulkukan, as they are born from Chimalman to defeat a foe.

In the South African story, there was a monster who was swallowing up the people in a village and then came after a pregnant woman with child. The woman finds a hiding place and already gives birth to a full grown boy (named "Moshanyana") with armor and weapons, and thus goes to fight the monster and defeats it. It states that he cuts open the monster and frees the people who was swallowed (same as Saturn vomiting his children).

Then based from the Nag Hammadi details the troublemaker causing havoc in the Heavens and states Sophia blowing onto the demon to which a fiery angel comes forth to defeat the great demon and cast it to the earth. Same story is Durga battling Maishasura, to whom from Durga's third eye (or Durga's fiery form) becomes Kali who then defeats the bull demon.

Here in Revelations 12 states this:

"1And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: 2And she being with child cried, travailing in birth, and pained to be delivered.3And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. 4And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born. 5And she brought forth a man child, who was to rule all nations with a rod of iron: and her child was caught up unto God, and to his throne. 6And the woman fled into the wilderness, where she hath a place prepared of God, that they should feed her there a thousand two hundred and threescore days. 7And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, 8And prevailed not; neither was their place found any more in heaven. 9And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him."

"10And I heard a loud voice saying in heaven, Now is come salvation, and strength, and the kingdom of our God, and the power of his Christ: for the accuser of our brethren is cast down, which accused them before our God day and night. 11And they overcame him by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto the death.12 Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! for the devil is come down unto you, having great wrath, because he knoweth that he hath but a short time. 13And when the dragon saw that he was cast unto the earth, he persecuted the woman which brought forth the man child. 14And to the woman were given two wings of a great eagle, that she might fly into the wilderness, into her place, where she is nourished for a time, and times, and half a time, from the face of the serpent. 15And the serpent cast out of his mouth water as a flood after the woman, that he might cause her to be carried away of the flood. 16And the earth helped the woman, and the earth opened her mouth, and swallowed up the flood which the dragon cast out of his mouth. 17And the dragon was wroth with the woman and went to make war with the remnant of her seed, which keep the commandments of God, and have the testimony of Jesus Christ."

This is where the battle between the Devas and the Asuras takes place, as they are called the "Gods and Titans", "Aesirs and Jotunns", "Angels and Jinn" (Demons) to Devas (Suras) and Danavas (Asuras) in Hinduism. Now, when I would look up shows like "Shiva Purana" and "Vishnu Purana" in Post Vedicism, they tend to show the Devas to be under their God Vishnu, and the Asuras under their God Shiva as the Danava Vritra is shown as having "Red Hair".

It's interesting as the story of Samudra manthan states this: "Indra, the King of Svarga, while riding on the elephant Airavata, came across Sage Durvasa who offered him a special garland given to him by a nymph. Indra accepted the gift and placed it on the trunk of the elephant as a test to prove that he was not an egoistic deva. The flowers on it had a scent that attracted some bees. Annoyed by the bees Airavata threw the garland on the ground. This enraged the sage as the garland was a dwelling of Sri (fortune) and was to be treated as a prasada or religious offering. Durvasa cursed Indra and all devas to be bereft of all strength, energy, and fortune. In battles following the incident, the Devas were defeated and the Asuras, led by Bali, gained control over the universe. The Devas sought Lord Vishnu's help, who advised them to treat the Asuras in a diplomatic manner. The Devas formed an alliance with the Asuras to jointly churn the ocean for the nectar of immortality and to share it among themselves. However, Vishnu told the Devas that he would arrange for them alone to obtain the nectar."

"Finally, Dhanvantari, the heavenly physician, emerged with a pot containing the amṛta, the heavenly nectar of immortality. Fierce fighting ensued between the Devas and the Asuras for it. To protect it from the Asuras, Garuda took the pot and flew away from the battlefield. The Devas appealed to Vishnu, who took the form of Mohini and, as a beautiful and enchanting damsel, distracted the Asuras; then, she took the amṛta and distributed it among the Devas, who drank it. An Asura named Svarbhanu disguised himself as a deva and drank some nectar. Due to their luminous nature, the Sun god Surya and the moon god Chandra noticed this disguise. They informed Mohini who before the nectar could pass the Asura's throat, cut off his head with her discus, the Sudarshana Chakra. From that day, his head was called Rahu and his body Ketu, which both later became planets. The story ends with the rejuvenated Devas defeating the Asuras and that's why the eclipse mode of the moon means Rahu swallows moon as his revenge. Although, rahu only has a head and no body. So the god moon chandra comes out from the throat of rahu and we see the moon again in sky."

Now, here in the Wiki states this: "Kashyapa (IAST: Kaśyapa) is a revered Vedic sage of Hinduism. He is one of the Saptarishis, the seven ancient sages of the Rigveda, as well as numerous other Sanskrit texts and Indian mythologies. He is the most ancient Rishi listed in the colophon verse in the Brihadaranyaka Upanishad.....Kaśyapa, alternatively kacchapa, means "turtle" in Sanskrit. According to Michael Witzel, it is related to Avestan kasiiapa, Sogdian kyšph, New Persian kašaf, kaš(a)p which mean "tortoise", after which Kashaf Rūd or a river in Turkmenistan and Khorasan is named. Other relations include to Tokarian B kaccāp ("brainpan"), Polish kacap ("brainpan", "hardliner"), Tokarian A kāccap ("turtle", "tortoise"). Frits Staal agrees that Kaśyapa means tortoise but believes that it is a non-Indo-European word."

He would be one of the Rishis that was saved with King Manu, to be on the boat being led by Vishnu's avatar Matsya (Fish Form, as Dagon). "Kashyapa is mentioned in numerous Hindu texts such as the Puranas and the Hindu Epics. These stories are widely inconsistent, and many are considered allegorical. For example, in the Ramayana, he is married to the eight daughters of Daksha, while in the Mahabharata and Vishnu Purana he is described as married to thirteen daughters. Some of the names of the thirteen daughters Kashyapa married in the Hindu text Vishnu Purana are different than the list found in Mahabharata. Some texts describe him as son of Marichi and a descendant of the solar dynasty, others as a descendant of Uttamapada who married Daksha's daughters, and yet others relate Kashyapa as a descendant of Hiranya Kashyapa. These texts may correspond to different characters, all named Kashyapa."

(Daksha is the god that had his head cut off by one of Shiva's demons called "Bhairava", and then replaced with the head of a goat. He had indirectly got his daughter killed, because she was with Shiva with whom he had disapproved)

The Puranas and the Epics of Indian tradition mention Kashyapa and his genealogy numerous times. These are inconsistent, with allegorical stories exalting him as the father of all gods, men, demons and empirical universe, in some conflated as the Kurma avatar of the Hindu god Vishnu. In the Vishnu Purana, Kashyapa marries thirteen daughters of Daksha: Aditi, Diti, Kadru, Danu, Arishta, Surasa, Surabhi, Vinata, Tamra, Krodhavasha, Ira, Vishva and Muni. Kashyapa, in the Vishnu Purana and Vayu Purana, is attributed to be the father of the Devas, Asuras, Yakshas, Dravidas and all living creatures with various daughters of Daksha."

"He married Aditi, with whom he fathered Surya or alternatively Agni, the Adityas, and in two inconsistent versions Vamana, an avatar of Vishnu, is the child of Aditi and Kashyapa. In these fables, Kashyapa is the brother-in-law of Dharma and Adharma, both of whom are also described as married to other daughters of Daksha."

"After the famous Samudra Manthan (the churning of the ocean), when the devas and asuras churned the ocean and got the amrit pan (nectar/pot of immortality), Lord Vishnu’s Mohini Avatar took the pot and made the devas drink the nectar, leaving the asuras empty. Feeling the circumstances to be unfair, Diti, the mother of asuras, asked her husband Sage Kashyapa to bestow her with great sons that will ruin the devas. Sage Kashyapa, as a righteous husband agreed to this and gave Diti two sons, Hiranyaksha and Hiranyakashipu. Both sons were mighty and defeated the devas. Hiranyaksha was however killed by Varaha Avatar of Lord Vishnu, because he trapped Bhūmi Devi (Goddess Earth) in the cosmic ocean."

"Hiranyakashipu took over the world and stopped the worship of gods, and established himself as a god. He was killed by Narsimha Avatar of Lord Vishnu, when he tried to kill his own son, Prahlad, when he found that Prahlad became a devotee of Lord Vishnu. Diti was more furious, but she could not wish to harm Lord Vishnu as he is a member of the Tridev and planned to kill Indra, the king of devas. She went to Sage Kashyapa again and demanded a son that would kill Indra (since he was the one who requested the Tridev to help). Sage Kashyapa impregnated her with a son that would kill Indra, but also told that it is only possible if she does ritualistic ceremonies to Lord Vishnu everyday. Diti did that and she did the rituals everyday."

"One day, she became tired and fell asleep after the ritual, forgetting to wash her feet before sleeping. This made her womb vulnerable, and Indra took a tiny form and entered her womb, and using his weapons he cut the foetus into 49 pieces. These 49 pieces were later known as the Maruts. Due to the rituals she performed, the evil thought of killing Indra went away and she did rituals daily."

From his wife Aditi: "Aditi (Sanskrit: अदिति = "limitless" or "boundless”) is a Vedic goddess in Hinduism, the personification of the infinite. She is the goddess of the earth, sky, unconsciousness, the past, the future and fertility. She is the mother of the celestial deities the Adityas, and is referred to as the mother of many gods. As celestial mother of every existing form and being, the synthesis of all things, she is associated with space (akasa) and with mystic speech (Vāc). She may be seen as a feminized form of Brahma and associated with the primal substance (mulaprakriti) in Vedanta.....Aditi is a daughter of Daksha and Panchajani. The Puranas, such as the Shiva Purana and the Bhagavata Purana, suggest that Daksha married all of his daughters off to different people, including Aditi and 12 others to Kashyapa rishi. When Kashyapa was living with Aditi and Diti in his ashrama, he was really pleased with Aditi’s services and told her to ask for a boon. Aditi prayed for one ideal son. Accordingly, Indra was born. Aditi. Later, Aditi gave birth to others, namely Varuna, Parjanya, Mitra, Amsa, Pusan, Dhatri, Tvastra, Aryaman, Surya, and Bhaga."

(The 12 gods are the 12 tribes in this perspective)

From Diti: "In Hinduism, Diti (Sanskrit: दिति) is the Mother of Demons and supporter of Demonic attributes. She is mother of both the Marutas and the Asuras (Daityas) with the sage Kashyapa. She is said to have wanted to have a son who would be more powerful than Indra. She is said to have killed her previous children because they tried to murder her. Diti used black magic to keep herself pregnant for one year."

"Indra used a thunderbolt to splinter the fetus into many pieces, from which originated the Marutas. Diti is one among a group of sixty daughters of Dakṣa and Panchajani. Her sisters included Aditi and Satī, among many more. She is one of the thirteen wives of the sage Kashyapa. Her two most famous sons were Hiraṇyakaśipu and Hiraṇyākṣa, who were the gatekeepers of Lord Vishnu at Vaikunta & who are said to have failed to keep their dharma and were slain by Vishnu in subsequent rebirths until they went back as the gatekeepers Jaya and Vijaya. Diti also had a daughter named Holikā. She is usually depicted as being cruel to both her husband Kashyapa and her sister Aditi. She is obsessed with trying to bring the Asuras into power. She is a bitter enemy of Aditi's sons, the gods, and she was instrumental in gaining control and autonomy over them."

From Kadru: "In Hindu scriptures, Kadru (Kadrū) is usually regarded as the daughter of Daksha. Kashyapa married Kadru and twelve of Daksha's other daughters. Kashyapa was the son of Marichi, who was the manasputra or mind-born (spiritual) son of Brahma. Kadru was the mother of a thousand nāgas."

From Vinata: "According to Hindu legends, Vinata is the mother of birds. She is one of the thirteen daughters of Prajapati Daksha. Married to Kashyapa along with her 12 sisters. She bore him two sons, named Aruṇá, and Garuda (Suparna)." From Surasa: "In the Hindu epic Ramayana, Surasa is one of the 12 daughters of Daksha, who are married to the sage Kashyapa. She became the mother of the nagas (a class of serpents), while her co-wife and sister Kadru gave birth to uragas, another class of snakes. Vasuki, Takshaka, Airavata and other sons of Surasa are described to live in Bhogavati."

Below is the battle between Hanuman the monkey god and Surasa who is said to be the mother of serpents. Here Surasa the serpent is depicted as a black woman whereas other paintings show her to be in monstrous form.

Based from "The Secret Doctrine" pg 381 (Theft of Rahu) details this interesting segment: "......The caves of the Rishis, the abodes of Teiresias and the Greek seers, were modeled on those of the Nagas, — the Hindii King-Snakes, who dwelled in cavities of the rocks under the ground. From Sesha, the thousand-headed Serpent, on which Vishnu rests, down to Python, the dragon serpent oracle, all point to the secret meaning of the myth. In India we find the fact mentioned in the earliest Puranas. The children of Surasa are the " mighty Dragons." The Vdyu Purdna replacing " Surasa " (of Vishnu Purana) by Danujas or Danavas — the descendants of Danu by the sage Kasyapa — and those Danavas being the giants (or Titans) who warred against the gods, they are thus shown identical with the " Dragons " and " Serpents " of Wisdom."

From Surabha: "Kamadhenu, also known as Surabhi (सुरभि, Surabhī), is a divine bovine-goddess described in Hinduism as Gou Mata, the mother of all cows."

From Krodhavasa: "In Valmiki Ramayana, Krodhavasa is the wife of Kashyapa. She was the daughter of Daksha. She gave birth to demons who were also known as Krodhavasas. As she was very short tempered, the children born to her were ferocious animals, birds and fishes, all monsters species with sharp-teeth."

From Ira: "Ira is a male and female given name. In Sanskrit, Ira (इरा ih-RAH) is the name of the goddess Saraswati (Goddess of wisdom and knowledge), short for Iravati. Ira (इरा) is the daughter of Daksha who was married to the sage Kashyap. In Russia and Finland, Ira is a female given name, a version of the name of the Greek goddess Hera, Ήρα, queen of the gods and wife of Zeus."

From Muni: "Muni is the wife of Kashyapa, one of the 62 daughters of Daksha and his wife Panchajani (daughter of Virani.) The Bhagavata Purana states that the Apsaras were born from Kashyap and Muni."

And from Danu: "Danu, a Hindu primordial goddess, is mentioned in the Rigveda, mother of the Danavas. The word Danu described the primeval waters which this deity perhaps embodied. In the Rigveda (I.32.9), she is identified as the mother of Vritra, the demonic serpent slain by Indra. In later Hinduism, she becomes the daughter of the god Daksha and his spouse Panchajani, and the consort of the sage Kashyapa."

At this point, the Danavas are the Asuras due the mother being one and the same. Interesting enough, the Celtic Lore also details the Goddess Danu, and how she is connected to either the "Danube river", and the probable theories connecting to the "Tuathedanaan".

Now, based from Genesis Chapter 3:15 states: "And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel."

Below would show Krishna stepping on the serpent Kaliya and Kartikeya who steps on the serpent, however based on the said changes reveals that it's based on the Garuda battling the Naga, to where we have Michael defeating Satan.

Here based from the Post Vedic story of Durga defeating Mahishasura is pretty much the same as one deity defeating the other. Just like the story of Chiyou battling the Yellow Emperor, the same theme states this:

"Mahishasura is a Sanskrit word composed of Mahisha meaning buffalo and Asura meaning demon, or Buffalo Demon. As an Asura, Mahishasura waged war against the Devas, as the Devas and Asuras' were perpetually in conflict. Mahishasura had gained the boon that no man could kill him. In the battles between the gods and the demons, the Devas led by Indra were defeated by Mahishasura. Dejected by their defeat, the Devas assemble in the mountains where their combined divine energies coalesce into goddess Durga. The newborn Durga led a battle against Mahishasura, riding a lion and killed him. Thereafter she is named Mahishasuramardini, meaning The Killer of Mahishasura."

The story of Durga cutting off Maishasura's head is equivalent to Vishnu cutting off the head of the Asura Rahu. This is attained after He takes the Amrit of the Gods, to which he gains "eternal life", thus cannot die by the Gods. This is also where Sun Wukong takes the "Peaches of immortality", thus becoming immortal. Then comes the story of the "One legged One" in the Red Horn story. This story details some interesting connections to the fall of the Devil.

"The first incarnation of the chief of the devils, Herešgúnina, was called "One Legged One," since Earth Maker had created him with just one leg, and that was flat.¹Others say that Earth Maker, from his place atop the sky, made him as the first man. When he was finished, he set him by the sun at its zenith to dry, but the excessive heat caused one of his legs to crack and fall off. Yet others say that the Earth maker dropped him, and the leg broke off when he hit the earth.²

Originally, he lived with his adopted sister in a hill after the fashion of Water spirits. She was abducted by buffalo because she allowed herself to be fooled by Trickster while One Legged One was away looking for a wife. The buffalo squeezed her waist so thin by carrying her between their horns that One Legged One made her the spirit chief of the ants.

It was One Legged One under the name Wareksankeka(< Wareksągéga,"He whose Upper Leg has been Cut [Off]."), who opposed Bladder, killing all of his brothers except the youngest, whom he whipped with a thorn bush.⁴Bladder, whom Earth maker created to overcome the evil spirits plaguing mankind, hunted down One Legged One and eventually killed him by smashing him to pieces with a single kick,⁵or by pushing his body aside after beheading him. The youngest brother, who wounded One Legged One, turned out to be Morning Star.⁶As was only known to a few, when Bladder pushed One Legged One's body to the side during their beheading context, his head became the solar disk, which continually rebounds from east to west.

If you didn't connect the dots, when Bladder kicked him after beheading him, this is reminiscent to the story of Rahu who was an Asura in the form of the dragon.

Rahu is mentioned in the Puranic texts.^[5]The tales begin in the "remotest periods of the earliest of time, when the devas and asuras churned the ocean of milk to extract from it the amrita, the elixir of immortality."^[6]Mohini, the female avatar of Vishnu, started distributing amrita to the devas. However, one of the asuras, Svarbhanu, sat in the row of devas and drank the amrita. Surya and Chandra noticed him and they informed Mohini; however, by that time, Svarbhanu had already become immortal. Vishnu, as Mohini, cut off Svarbhanu's head with his discus, the Sudarshana Chakra. Svarbhanu, henceforth referred to as Rahu and Ketu, could not die, but his head was separated from his body; his head came to be known as Rahu, while his body came to be known as Ketu. Following this event, Rahu and Ketu gained the status of planets, and could influence the lives of humans on Earth.^[5]Rahu and Ketu became bitter enemies with Surya(Sun) and Chandra (Moon) for exposing his deception and leading to his decapitation.^[7]For this, Rahu pursues them and attempts to consume the Sun and Moon.^[8][9]Since Rahu is the head without the body, the Sun and Moon exit from his throat when he tries to swallow them.^[10][11]This recurring cycle creates the grahana, an eclipse of the Sun and the Moon, which represents the temporary revenge of Rahu.

Now, when I was looking up the stories based on "Melek Taus" being the Peacock Angel I find that the story is rather mixed up, because they state that one of many incarnations of Melek Taus is Osiris, however, based from learning more about this subject tells me that the story of the fire God Set battling Osiris is basically the same story, as this connects to the Garuda vs Naga story. Though the roles are reversed to the bird God Horus battling Set, the story remains the same as the attributes of the Gods is passed down to newly created deities (We can see that as the roles are then reversed with elements as well). Then the story of Set as the devil takes the place as the one who gets defeated by Horus, then in this form of Apep defeated by Ra. Now, based from seeing some pictures of Michael's wings with Peacock feathers gave me the indication that this is the Hindu God Murugan, as the Peacock Angel and one of the incarnations of Melek Taus. However, it's also shown that the "Peacock" symbology would be shown to be the Devil that was defeated. This will make sense later on in this Chapter.

Now, when learning looking up the website "Yeziditruth.org", the legend states how Melek Taus has different manifestations that represents him in someways. However, nowadays this website seems to be taken down, but I'll clue the reader as to the different Avatars of this being. One he is called "Murugan" the Peacock Warrior, who would the son of Shiva and Parvati, and the brother of Ganesh. He is also called "Skanda" or "Kartikeya" as well. Here are some excerpts from the Wiki:

"Kartikeya, also known as Skanda, Kumara, Murugan, Mahasena, Shanmukha and Subrahmanya, is the Hindu god of war. He is a son of Parvati and Shiva, brother of Ganesha, and a god whose life story has many versions in Hinduism. An important deity in the Indian subcontinent since ancient times, Kartikeya is particularly popular and predominantly worshipped in South India, Sri Lanka and Malaysia as Murugan. Kartikeya is an ancient god, traceable to the Vedic era. Archaeological evidence from 1st-century CE and earlier, where he is found with Hindu god Agni (fire), suggest that he was a significant deity in early Hinduism. He is found in many medieval temples all over India, such as at the Ellora Caves and Elephanta Caves."

"The iconography of Kartikeya varies significantly; he is typically represented as an ever-youthful man, riding or near an Indian Peacock, called Paravani, dressed with weapons sometimes with a rooster in the flag he holds. Most icons show him with one head, but some show him with six heads reflecting the legend surrounding his birth. He grows up quickly into a philosopher-warrior, destroys evil in the form of demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta. He has inspired many poet-saints, such as Arunagirinathar."

"Kartikeya is found as a primary deity in temples wherever communities of the Tamil people live worldwide, particularly in Tamil Nadu state of India, Sri Lanka, Mauritius, Indonesia, Malaysia, Singapore, South Africa and Réunion. Three of the six richest and busiest temples in Tamil Nadu are dedicated to him. The Kataragama temple dedicated to him in Sri Lanka attracts Tamils, Sinhalese people and the Vedda people. He is also found in other parts of India, sometimes as Skanda, but in a secondary role along with Ganesha, Parvati and Shiva."

"Kartikeya is known by numerous names in ancient and medieval texts of the Indian culture. Most common among these are Murugan, Kumara, Skanda, and Subrahmanya. Others include Aaiyyan, Cheyyon, Senthil, Vēlaṇ, Swaminatha ("ruler of the gods", from -natha king), śaravaṇabhava ("born amongst the reeds"), Arumugam or ṣaṇmukha ("six-faced"), Dandapani ("wielder of the mace", from -pani hand), Guha (cave, secret) or Guruguha (cave-teacher), Kadhirvelan, Kathiresan, Kandhan, Vishakha and Mahasena. In ancient coins where the inscription has survived along with his images, his names appear as Kumara, Brahmanya or Brahmanyadeva."

"On some ancient Indo-Scythian coins, his names appear in Greek script as Skanda, Kumara and Vishaka. In ancient statues, he appears as Mahasena, Skanda and Vishakha. Skanda is derived from skand-, which means "leap or attack". In Kalidasa’s epic poem Kumarasambhava (“The Birth of the War God”; 5th century CE), as in most versions of the story, the gods wished for Skanda to be born in order to destroy the demon Taraka, who had been granted a boon that he could be killed only by a son of Shiva. They sent Parvati to induce Shiva to marry her."

"Shiva, however, was lost in meditation and was not attracted to Parvati until he was struck by an arrow from the bow of Kama, the god of love, whom he immediately burned to ashes. After many years of abstinence, Shiva’s seed was so strong that the gods, fearing the result, sent Agni, the god of fire, to interrupt Shiva’s amorous play with Parvati. Agni received the seed and dropped it into the Ganges, where Skanda was born. Kartikeya means "of the Krittikas".

"This epithet is also linked to his birth. After he appears on the banks of the River Ganges, he is seen by the six of the seven brightest stars cluster in the night sky called Krittikas in Hindu texts (called Pleiades in Greek texts). These six mothers all want to take care of him and nurse baby Kartikeya. Kartikeya ends the argument by growing five more heads to have a total of six heads so he can look at all six mothers, and let them each nurse one. The six Krittikas are Śiva, Sambhūti, Prīti, Sannati, Anasūya and Kṣamā."

In Tamil literature: "The Tolkāppiyam, one of the most ancient texts of the Tamil literature, mentions cēyōṉ "the red one", who is identified with Murugan, whose name is literally Murukaṉ "the youth"; the other gods referred to in the Tolkāppiyam are Māyōṉ "the dark one" (identified with Vishnu), Vēntaṉ "the sovereign" (identified with Indra) and Korravai "the victorious" (identified with Kali) and Varunan "the sea god". Extant Sangam literature works, dated between the third century BCE and the fifth century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils." Korravai is often identified as the mother of Murugan."

"In the Tirumurukāṟtruuppaṭai, he is called Muruku and described as a god of beauty and youth, with phrases such as "his body glows like the sun rising from the emerald sea". It describes him with six faces each with a function, twelve arms, his victory over evil, and the temples dedicated to him in the hilly regions."

Legends: "The Epic era literature of ancient India recite numerous legends of Kartikeya, often with his other names such as Skanda. For example, the Vana Parva of the Mahabharata dedicates chapters 223 to 232 to the legends of Skanda, but depicts him as the son of Agni and Svaha. Similarly, Valmiki's Ramayana dedicates chapters 36 and 37 to Skanda, but describes him as the child of deities Rudra (Shiva) and Parvati, whose birth is aided by Agni and Ganga."

"The legends of Kartikeya vary significantly, sometimes within the same text. For example, while the Vana Parva of the Mahabharata describes Skanda as the son of Agni, the Shalya Parva and the Anushasana Parva of the same text presents Skanda's legend as the son of Maheshvara (Shiva) and Parvati. In Vana Parva, the circumstances behind Kartikeya's birth legend do not involve Shiva and Parvati. Rather it is deity Agni who goes to a hermitage of seven married Rishis (sages) and meets their seven wives. He is sexually attracted to all seven, but none reciprocate. Svaha is present there and she is attracted to Agni, but Agni is not."

"According to the legend, Svaha takes the form of six of the wives, one by one, and sleeps with Agni. She does not take the form of Arundhati, Vasistha's wife, because of Arundhati's extraordinary virtuous powers. Svaha deposits the semen of Agni into the reeds of River Ganges, where it develops and then is born as six headed Skanda. A totally different legend in the later books of the Mahabharata make Shiva and Parvati as the parents. They were making love, but they are disturbed, and Shiva inadvertently spills his semen on the ground. Shiva's semen incubates in River Ganges, preserved by the heat of god Agni, and this fetus is born as baby Kartikeya on the banks of Ganges."

"Some legend state that he was the elder son of Shiva, others make him the younger brother of Ganesha. This is implied by another legend connected to his birth. Devas have been beaten up by Asuras led by Taraka, because Taraka had a boon from ascetic celibate yogi Shiva that only Shiva's son can kill him. Devas learn about this boon, and plan how to get Shiva into a relationship. So they bring Parvati into the picture, have her seduce yogi Shiva, and wed Parvati so that Skanda can be born to kill Taraka." One of the versions of Murugan's birth states that he was originally born from Agni, prior to the story of Shiva and Parvati creating him.

"According to Raman Varadara, Murugan or Kartikeya was originally a Tamil deity, who was adopted by north Indians. He was the god of war in the Dravidian legends, and became so elsewhere in the Indian subcontinent too. In contrast, G. S. Ghurye states that according to the archeological and epigraphical evidence, the contemporary Murugan, Subrahmanya and Kartikeya is a composite of two influences, one from south and one from north in the form of Skanda and Mahasena."

Now, based from Blavatsky's "The Secret Doctrine" details this interesting information.

Based from Quranic exegesis: "According to many Classical scholars, based on the reports of the Sahaba, before Iblis was expelled from heaven, he was called Azazil. Quranic exegesis offers two different depictions of Iblis. One with Azazil beginning as a noble angel who later loses his position, while the other counts him as an ignoble jinn, who works his way up to heaven. According to whose interpretations legitimated by the authority of Ibn Abbas, Azazil was the leader of angels and sent by God to terminate the jinn, who lived on earth before humanity...."

Narrative exegesis (Qiṣaṣ):

"Qiṣaṣ is a form of exegesis by Muslim scholars focusing on establishing a coherent story from material of Islamic scripture (Quran,ḥadīṯ).^[57][58] According to many of them, before Adam was created, the jinn, offspring of al-Jānn(الجان), lived on earth. First they were obedient, but over time immorality increased and, when they became infidels, God sent an army of angels, headed by Iblis, called "al-Jinn" (named after paradise, not the genus) to defeat them.^[15][59] These angels were created from nār as-samūm, while the rest of the angels from light, and the genus of jinn from mārijin min nār (smokeless fire)."

"In reference to the interpretation of the events in Surah 2:30–34, when the angels complain about mankind's potential to shed blood and cause injustice, Islamic hagiographic narratives relate this to the story about angels' battle with the jinn.^[59] Tabari and al-Thaʿlabi explain that the angels feared that humanity will become as corrupt as the jinn. Some later traditions place Iblis among the genus of the jinn instead. In one narration of the Tarikh Khamis, among the masses of infidel jinn only Iblis dedicated his life to worship of God, withdrawing to a high mountain. The angels soon notice him and elevate him to the heavens, where he becomes one like them in worship."

Based from "Al-Jann" states this:

Jann: Jawān) are the ancestor of the jinn in Islam. They are said to have inhabited the earth before Adam, ruled by a king called Jann ibn Jann. In folklore however, many consider them to be punished and turned into the weakest class of jinn, comparable to the way in which Dead Sea apes are seen as transformed humans. The father of the jinn is also called Abu Al-Jann."

"Jann (from the Semitic root JNN) is an Arabic term, whose primary meaning is "to hide" and can also refer to an agile snake.^[2]It is a neuter singular for jinn, while Jinni and Jinniyya (h) are either adjectives, or masculine and feminine singulars or both. The term designate a supernatural creature or a serpent.^[3] Lisan al-'Arab, by Ibn Manzur, gives the following account on the term: "Creatures called jânn lived on earth but they caused mischief in it and shed blood, so God sent his angels who drove them away from the earth; and it is said that these angels became the inhabitants of the earth after the jânn.^[4] Amira el-Zein reports that the term jann is used to specify when the term jinn covers both angels and jinn in meaning."

In the Quran, Surah15:27 and 55:15,jânn (in contrast to many translations of the Quran using the term jinn instead) is said to be created from fire, and taken to be the ancestor of all jinn. Mufassir (authorized exegetes of the Quran) disagree if this refers to Iblis or to a separate creature who is father of all jinn, in contrast to Iblis as the father of shayatin (devils). The tradition of Hasan al Basri considers Iblis and al-jann to be identical.^[1][6] However, the majority distinguishes between Iblis, the father of devils and Jann the father of jinn.^[7][8]

In Surah 27:10, it is related to the staff of Moses while turning into a serpent.^[9] Sahih Muslim describes al-Jannas being created out of a mixture of fire, contrasted with the angels created from light and humans created from clay-mud.^[10]Another hadith, mentioned in the collection of Al-Tirmidhi, reports that Muhammad sought refuge in God from al-Jann, the father of jinn, until Surah Al-Nas and Surah Al-Falaq had been revealed.

Now in "The Secret Doctrine" by Madame Blavatsky on the chapter "The Origin of the Satanic myth" states this [[Vol. 2, Page]] 394: "Before the creation of Adam, two races lived and succeeded each other on Earth; the Devs who reigned 7,000 years, and the Peris (the Izeds) who reigned but 2,000, during the existence of the former. The Devs were giants, strong and wicked; the Peris were smaller in stature, but wiser and kinder....Gyan (or rather Gnan, true or occult Wisdom and knowledge), also called Gian-ben-Gian (or Wisdom, son of Wisdom), was the king of the Peris."

"He had a shield as famous as that of Achilles, only instead of serving against an enemy in war, it served as a protection against black magic, the sorcery of the Devs. Gian-ben-Gian had reigned 2,000 years when Iblis, the devil, was permitted by God to defeat the Devs and scatter them to the other end of the world. Even the magic shield, which, produced on the principles of astrology, destroyed charms, enchantments, and bad spells, could not prevail against Iblis, who was an agent of Fate (or Karma)".

Based from the Chinese Lore on "Heidi (god)" states this in the Wiki:"Hēidì (Chinese: 黑帝; lit. 'Black Deity') or Hēishén (黑神; 'Black God'), who is the Běidì (北帝; 'North Deity', Cantonese: Pak Tai) or Běiyuèdàdì (北岳大帝; 'Great Deity of the Northern Peak') is a deity in Chinese religion, one of the cosmological "Five Forms of the Highest Deity" (五方上帝; Wǔfāng Shàngdì). He is also identified as Zhuānxū (颛顼), today frequently worshipped as Xuánwǔ (玄武; 'Dark Warrior') or Zhēnwǔ (真武), and is associated with the essence of water and winter. His animal form is the Black Dragon and his stellar animal is the tortoise-snake. By virtue of his association with the north he has been identified and revered frequently as a representation of the supreme God of Heaven."

"A Taoist title of Heidi is the "Dark (or Mysterious) Heavenly Highest Deity" (玄天上帝; Xuántiān Shàngdì). According to a myth, during the fall of the Shang the Demon King ravaged the world, so that Yuanshi Tianzun ordered the Jade Emperor to appoint Heidi as the commander of twelve heavenly legions to fight this evil. Heidi defeated the Demon King and was subsequently granted the title of Mysterious Heavenly Highest Deity. In temples dedicated to him, the bronze tortoise and serpent under the feet of his image signify that the good always prevails over evil."

Now, look up the "Taraka demon" that fought against the Gods, before Muruga had defeated him. Based from the Wiki states this: "Tārakāsura or Tāraka, Tharakasuran, Tarakasura was a powerful asura in Hindu mythology. He was son of a powerful Asura Vajranaka and his wife Vajrangini. Taraka had three sons Tarakaksha, Vidyunmāli and Kamalaksha, who were known as Tripurasura."

"Tarakasura repeatedly defeated the gods until heaven was on the verge of collapse. Yet he had a clever boon that he could be defeated only by the son of Shiva, who was a complete yogi, given to severe austerities, far from any thoughts of marriage. However, Parvati who was re-incarnation of Sati, Shiva's wife and also incarnation of Aadi Shakti who was once a part of Shiva, in their Ardhanarishvara form. Eventually their son Kartikeya was born. Kartikeya killed Tarakasura and his brothers Simhamukhan and Surapadman who eventually became the mounts of Parvati and Kartikeya."

Now, let's compare this to Revelations 12:7-12: "7And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, 8And prevailed not; neither was their place found any more in heaven. 9And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him. 10And I heard a loud voice saying in heaven, Now is come salvation, and strength, and the kingdom of our God, and the power of his Christ: for the accuser of our brethren is cast down, which accused them before our God day and night. 11And they overcame him by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto the death.12Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! for the devil is come down unto you, having great wrath, because he knoweth that he hath but a short time."

This is merely the same story, only that they detail this being as a god that defeated the great demon in the "War in the Heavens". This should only give clues as to this Angel being the one that battled against the entities altogether. There were many changes when sifting through the stories, but the battle and the description of this Angel remain the same. The story of Azazil is based on Michael the Archangel and "Red Horn", in regard to battling the Jinn race on Earth. Based on "Iblis/Azazil", it's shown that they were considered "Leaders" of God's Angelic Angels. Though there were several depictions of him throughout the Lore based on said information from Red Horn and Iblis, this being would have to be the Angel "Michael" as the one who was sent to defeat the entities and Giants that was plaguing mankind. Just as Murugan was considered the "Commander" of the Heavenly armies, it's noted that this is based on the Angel called Azazil or Iblis who was sent by God is really "Indra" who is identified as Michael the Archangel. 

Then we take a look at Susanoo story again. Based from the Wiki states this:

"Susanoo(スサノオ,Japanese pronunciation:[sɯ̥.sa.noꜜː];^[1]historical orthography:スサノヲ,'Susanowo'), often referred to by the honorific title Susanoo-no-Mikoto([sɯ̥.sa.noꜜːnomʲi.ko.to]^[1]), is a kami in Japanese mythology. The younger brother of Amaterasu, goddess of the sun and mythical ancestress of the Japanese imperial line, he is a multifaceted deity with contradictory characteristics (both good and bad), being portrayed in various stories either as a wild, impetuous god associated with the sea and storms, as a heroic figure who killed a monstrous serpent, or as a local deity linked with the harvest and agriculture. Syncretic beliefs of the Gion cult that arose after the introduction of Buddhism to Japan also saw Susanoo becoming conflated with deities of pestilence and disease."

"After his banishment, Susanoo came down from heaven to Ashihara-no-Nakatsukuni (葦原中国, the 'Central Land of Reed Plains', i.e. the earthly land of Japan), to the land of Izumo, where he met an elderly couple named Ashinazuchi (足名椎 / 脚摩乳) and Tenazuchi (手名椎 / 手摩乳), who told him that seven of their eight daughters had been devoured by a monstrous serpent known as the Yamata no Orochi (八俣遠呂智 / 八岐大蛇, "eight-forked serpent") and it was nearing time for their eighth, Kushinadahime(櫛名田比売; also called Kushiinadahime, Inadahime, or Makami-Furu-Kushiinadahime in the Shoki).

Sympathizing with their plight, Susanoo hid Kushinadahime by transforming her into a comb (kushi), which he placed in his hair. He then made the serpent drunk on strong sake and then killed it as it lay in a drunken stupor. From within the serpent's tail Susanoo discovered the sword Ame-no-Murakumo-no-Tsurugi (天叢雲剣, "Sword of the Gathering Clouds of Heaven"), also known as Kusanagi-no-Tsurugi (草薙剣, "Grass-Cutting Sword"), which he then presented to Amaterasu as a reconciliatory gift."

[Susanoo-no-Mikoto] said to Ashinazuchi and Tenazuchi-no-Kami:

"Distill thick wine of eight-fold brewings; build a fence and make eight doors in the fence. At each door, tie together eight platforms, and on each of these platforms place a wine barrel. Fill each barrel with the thick wine of eight-fold brewings, and wait."

They made the preparations as he had instructed, and as they waited, the eight-tailed dragon came indeed, as [the old man] had said. Putting one head into each of the barrels, he drank the wine; then, becoming drunk, he lay down and slept. Then Haya-Susanoo-no-Mikoto unsheathed the sword ten hands long which he was wearing at his side, and hacked the dragon to pieces, so that the Hi river ran with blood. When he cut [the dragon's] middle tail, the blade of his sword broke. Thinking this strange, he thrust deeper with the stub of his sword, until a great sharp sword appeared. He took this sword out and, thinking it an extraordinary thing, reported [the matter] and presented [the sword] to Amaterasu-Ōmikami.

This is the sword Kusa-nagi.

"A variant account in the Shoki relates that after Susanoo was banished due to his bad behavior, he descended from heaven, accompanied by a son named Isotakeru-no-Mikoto (五十猛命), to a place called 'Soshimori' (曽尸茂梨) in the land of Shiragi (the Korean kingdom of Silla) before going to Izumo. Disliking the place, they crossed the sea in a boat made of clay until they arrived at Torikami Peak (鳥上之峯,Torikami no mine) by the upper waters of the river Hi in Izumo."

Based from Yamata no Orochi states this:

"The earliest record of the Yamata no Orochi myth comes from the Kojiki, the oldest extant source of Japanese mythology, completed in the year 712 by Ō no Yasumaro at the behest of Emperor Tenmu and Empress Genmei."

"After being banished from Takamagahara, the god Susanoo(須佐之男) descended to a place called Torikami (鳥髪^[a]) in the land of Izumo, where he found a chopstick floating down the River Hi (簸川, known today as the Hii river). Taking this as a sign that there must be people living nearby, Susanoo traveled upstream and came across an elderly couple and a young girl, all of whom were weeping. The old man introduced himself as Ashinazuchi(足名椎), an earthly deity and child of the mountain god Ōyamatsumi. His wife was Tenazuchi (手名椎) and his daughter was Kushinada-hime(櫛名田比売). Originally the couple had eight daughters, but every year an eight-headed serpent from Koshi(高志之八俣遠呂智,Koshi no Yamata no Orochi) had appeared and devoured one of them. Now only Kushinada-hime remained and she was soon to be eaten too, for this reason the three of them wept. When questioned on the serpent's appearance, Ashinazuchi described it as such:

“Its eyes are like red cherries (赤酸醤,akakagachi^[b]) and it has eight heads and eight tails. Covered in moss, cypress and cedar, it spans eight valleys and eight peaks, and when you look at its belly you see blood oozing out everywhere.”

"Revealing his identity as the younger brother of the goddess Amaterasu, Susanoo agreed to slay the serpent in exchange for Kushinada-hime's hand in marriage, to which Ashinazuchi gladly accepted. Thereafter, Susanoo transformed Kushinada-hime into a comb, which he stuck in the locks of his hair, and instructed Ashinazuchi and Tenazuchi to brew "eightfold-refined sake" (八塩折之酒,Yashiori-no-Sake). They were also told to build a fence with eight gates, and to place a vat of the sake at each gate. After which they were to await the serpent's arrival."

"So, they prepared everything as he told them to, whereupon the eight-headed serpent appeared, just as the old man had said it would. Straightaway it dipped a head in each cask and drank up the sake. Then it became drunk and fell asleep. And so the mighty Susanoo unsheathed the sword ten hand spans long(十拳剣,Totsuka-no-Tsurugi) that was girded by his side and hacked the serpent to pieces until the River Hi ran red with its blood. When he sliced off the middle tail, the blade of his mighty sword snapped off. And so, thinking this strange, he cut the tail open with the tip of the stub of his mighty blade and looked inside to find a keen-edged broadsword there. So, he took the broadsword, marveling at it, and presented it to the Great August Deity Amaterasu with his account of what had happened. This is the broad sword Grass Cutter (草那藝之大刀,Kusanagi-no-Tachi). The sword that Susanoo extracted from the serpent's tail, also called the Kusanagi-no-Tachi, is counted among the three imperial regalia of Japan. The other two treasures being the Yata-no-Kagami and Yasakani-no-Magatama."

Now, based on the dragon God or the devil, they are all shown to have red hair (this has become a notable trait). Based on the story of Susanoo battling the 8 headed serpent this is based on the symbolism of Izanagi cutting up Kagutsuchi into 8 pieces. Just as I had stated on Susanoo's tantrums, it's shown that Izanagi takes on the role of God who defeats Satan as he is then banished to the underworld. Let's move onto the story of Gong gong the water dragon and Zhurong the fire god. Based on the wiki states this:

Gonggong is a Chinese water god who is depicted in Chinese mythology and folktales as having a copper human head with an iron forehead, red hair, and the body of a serpent, or sometimes the head and torso are human, with the tail of a serpent. He is destructive and is blamed for various cosmic catastrophes. In all accounts, Gong gong ends up being killed or sent into exile, usually after losing a struggle with another major deity such as the fire god Zhurong.

Gong gong is known from the late Warring States period (before 221 BC). Gonggong appears in the ancient "Heavenly Questions" (Tianwen) poem of the Chu Ci, where he is blamed for knocking the Earth's axis off center, causing it to tilt to the southeast and the sky to tilt to the northwest.^[2]This axial tilt is used to explain why the rivers of China generally flow to the southeast, especially the Yangzi River and the Yellow River, and why the Sun, Moon, and stars move towards the northwest. Literature from the Han dynasty becomes much more detailed regarding Gonggong.

Gonggong was credited in various mythological contexts as being responsible for great floods, often in concert with his minister Xiangliu (a.k.a. Xiangyao), who has nine heads and the body of a snake.

Gonggong was ashamed that he lost the fight with Zhurong, the Chinese god of fire, to claim the throne of Heaven. In a fit of rage, he smashed his head against Buzhou Mountain, one of eight pillars holding up the sky, greatly damaging it and causing the sky to tilt towards the northwest and the Earth to shift to the southeast, which caused great floods and suffering. In one account of the myth, Gonggong kills himself in the process and fire comes out of the shattered mountain alongside floods.

Based from "symbolsage.com" states this:

In Chinese mythology, Gong gong is a water god who brought a disastrous flood to ruin the Earth and cause cosmic disorder. In ancient texts, he’s sometimes referred to as Kanghui. He’s commonly depicted as a huge, black dragon with a human face and a horn on his head. Some descriptions say that he has a body of a serpent, a man’s face, and red hair. Some stories depict Gong gong as a demon deity with a great strength, who battled with other gods to take over the world. He is notorious for the battle he created that broke one of the pillars that supported the heavens. There are different versions of the tale, but in most cases, the water god’s anger and vanity caused the chaos. In all accounts, Gong gong ends up being sent into exile or is killed, usually after losing in an epic battle with another god or ruler. In ancient China, Zhurong was the god of fire, the Brilliant One of the Forge. Competing with Zhurong for power, Gonggong knocked his head against the Mount Buzhou, one of the eight pillars that hold up the sky. The mountain fell and caused a tear in the sky, which created storm of flames and floods. Fortunately, the goddess Nuwa mended this break by melting rocks of five different colors, restoring it to good shape. In some versions, she even cut the legs off a huge tortoise and used them to support the four corners of the sky. She collected ashes of reeds to stop the food and chaos.

In the texts from Liezi and Bowuzhi, written during the Jin dynasty, the chronological order of the myth is reversed. Goddess Nuwa first mended a break in the cosmos, and later Gonggong fought with the fire god and caused cosmic disorder.

So, based on the Dragon God is deemed the water deity while the other God is the fire deity, however, it's still the same story, but on the description details that Gong Gong has black skin with red hair, which is the same description as Shiva. Gong Gong would be Typhon who battles Zeus, and Vritasura who battles Indra.

The story of the Jade Emperor states this: "One of the myths describes how the Jade Emperor became the monarch of all the deities in heaven. It is one of the few myths in which the Jade Emperor really shows his power. In the beginning of time, the earth was a very difficult place to live, much harsher than it is now. People had to deal with a variety of monstrous beings, and they didn’t have many gods to protect them; in addition, many powerful demons were defying the immortals of heaven."

"The Jade Emperor was an ordinary immortal who roamed the earth helping as many people as he could. He was saddened because his powers could only ease the suffering of humans. He retreated to a mountain cave to cultivate his Tao. He passed 3,200 trials, each trial lasting about 3 million years."

"On earth at this time, a powerful, evil entity had the ambition to conquer the immortals and gods in heaven and proclaim sovereignty over the entire universe. This evil entity also went into retreat and meditation to expand its power, though later than the Jade Emperor did. He passed through 3,000 trials, each trial lasting about 3 million years. After its final trial, it felt confident that no one could defeat it. It re-entered the world and recruited an army of demons with the purpose of attacking heaven."

"The immortals, being aware of the threat, gathered themselves and prepared for war. The gods were unable to stop the powerful demon and it defeated them all. The Jade Emperor finished his cultivation during this war. When he was changing the land to make it more livable for men and repelling a variety of monsters, he saw an evil glow radiating from heaven and knew something was amiss. He ascended and saw that the evil entity was too powerful to be stopped by the gods. He challenged it, and they fought."

"Mountains shook and rivers and seas toppled. Due to his deeper and wiser cultivation, his benevolence instead of his might, the Jade Emperor won the battle. After the evil entity was defeated, its army was scattered by the gods and immortals. Because of his noble and benevolent deeds, the gods, immortals and humans proclaimed the Jade Emperor the supreme sovereign of all."

This is the same story as Sun Wukong getting ravaging Heaven until the Buddha comes through to defeat him. Even the Yellow Emperor battling Chiyou the great demon is the same story.

Based from Perun states this: "In Slavic mythology, Perun (Cyrillic: Перýн) is the highest god of the pantheon and the god of sky, thunder, lightning, storms, rain, law, war, fertility and oak trees. His other attributes were fire, mountains, wind, iris, eagle, firmament (in Indo-European languages, this was joined with the notion of the sky of stone), horses and carts, weapons (hammer, axe (Axe of Perun), and arrow), and war. He was first associated with weapons made of stone and later with those of metal."

Myth: "In Slavic mythology, much like in Norse and Baltic mythologies, the world was represented by a sacred tree, usually an oak, whose branches and trunk represented the living world of heavens and mortals, whilst its roots represented the underworld, i.e. the realm of the dead. Perun was the ruler of the living world, sky and earth, and was often symbolised by an eagle sitting on the top of the tallest branch of the sacred tree, from which he kept watch over the entire world."

"Deep down in the roots of the tree was the place of his opponent, symbolised by a serpent or a dragon: this was Veles, watery god of the underworld, who continually provoked Perun by creeping up from the wet below up into the high and dry domain of Perun, stealing his cattle, children, or wife. Perun pursued Veles around the earth, attacking him with his lightning bolts from the sky. Veles fled from him by transforming himself into various animals, or hiding behind trees, houses, or people; wherever a lightning bolt struck, it was believed that this was because Veles hid from Perun under or behind that particular place."

"In the end, Perun managed to kill Veles, or to chase him back down into his watery underworld. The supreme god thus reestablished order in the world, which had been disrupted by his chaotic enemy. He then returned to the top of the World tree and proudly informed his opponent down in the roots "Well, there is your place, remain there!" (Ну, там тваё мейсца, там сабе будзь!). This line came from a Belarusian folk tale. To the Slavs, the mythological symbolism of a supreme heavenly god who battles with his underworldly enemy through storms and thunder was extremely significant. While the exact pantheon characterization differed between the various Slavic tribes, Perun is generally believed to have been considered as the supreme god by the majority, or perhaps by nearly all Slavs, at least towards the end of Slavic paganism. The earliest supreme god was probably Rod; it is unclear precisely how and why his worship as the head of the pantheon evolved into the worship of Perun. Another candidate for supreme deity among at least some Slavs is Svarog."

Then there is Veles: "Veles,[a] also known as Volos, is a major god of earth, waters, livestock, and the underworld in Slavic paganism. His mythology and powers are similar, though not identical, to deities such as Loki and Hermes. According to reconstruction by some researchers, he is the opponent of the supreme thunder god Perun.: 211–214 As such he probably has been imagined as a dragon, which in the belief of the pagan Slavs is a chimeric being, a serpent that devours livestock.: 141 : 87, 88 His tree is the willow much like Perun's tree is the oak. No direct accounts survive, but reconstructionist speculate that he may directly continue aspects of the Proto-Indo-European pantheon."

Enemy of Perun and storm myth: "The Russian philologists Vyacheslav Ivanov and Vladimir Toporov reconstructed the mythical battle of Perun and Veles through comparative study of various Indo-European mythologies and a large number of Slavic folk stories and songs. A unifying characteristic of all Indo-European mythologies is a story about a battle between a god of thunder and a huge serpent or a dragon. In the Slavic version of the myth, Perun is a god of thunder while Veles acts as a dragon who opposes him, consistent with the Vala etymology; he is also similar to the Etruscan underworld monster Vetha and to the dragon Illuyankas, enemy of the storm god of Hittite mythology."

"The reason for the enmity between the two gods is Veles's theft of Perun's son, wife, or, usually, cattle. It is also an act of challenge: Veles, in the form of a huge serpent, slithers from the caves of the underworld and coils upwards the Slavic world tree towards Perun's heavenly domain. Perun retaliates and attacks Veles with his lightning bolts. Veles flees, hiding or transforming himself into trees, animals or people. In the end, he is killed by Perun and in this ritual death, whatever Veles stole is released from his battered body in the form of rain falling from the skies."

"This "storm myth", or "divine battle", as it is generally called by scholars today, explained to ancient Slavs the changing of seasons through the year. The dry periods were interpreted as the chaotic results of Veles' thievery. Storms and lightning were seen as divine battles. The ensuing rain was the triumph of Perun over Veles and the re-establishment of world order. On a deeper level, as has been said above, Perun's place is up, high and dry and Veles' down, low and wet. By climbing up into the sphere of Perun, Veles disrupts the equilibrium of the world and needs to be put in his place."

"Perun does this in a fierce battle by smiting him with his lightning and drives him down into the water under the tree stub and the log and by putting him back in his place Perun restores order. Then they stop being adversaries and remain just opponents until the next time Veles tries to crawl up into Perun's realm. The myth was cyclical, repeating itself each year. The death of Veles was never permanent; he would reform himself as a serpent who would shed its old skin and would be reborn in a new body. Although in this particular myth he plays a negative role as bringer of chaos, Veles was not seen as an evil god by ancient Slavs."

"In fact, in many of the Russian folk tales, Veles, appearing under the Christian guise of St. Nicholas, saves the poor farmer and his cattle from the furious and destructive St. Elias the Thunderer, who represents Perun.[b] The duality and conflict of Perun and Veles does not represent the dualistic clash of good and evil; rather, it is the opposition of the natural principles of earth and water (Veles) against heaven/sky and fire (Perun)."

"The Ivanov/Toporov conception of "the key myth" of Slavic mythology has been criticized by several authors, including Leo Klejn and Igor M. Diakonoff. Many, including Klejn, pointed out that Ivanov and Toporov often tended toward unjustified generalizations and considered many of their arguments "far-fetched". Supporters of the theory, on the other hand, include Boris Uspensky, T. Sudnik and T. Tsivyan, and others."

God of magic and musicians: "According to Ivanov and Toporov, Veles' portrayal as having a penchant for mischief is evident both from his role in the storm myth and in carnival customs of Koledari shamans. In his role as a trickster god, he is in some ways similar to both Greek Hermes and Scandinavian Loki. He was connected with magic."

"The word volhov, obviously derived from his name, in some Slavic languages still means sorcerer while in the 12th century Ruthenian epic The Tale of Igor's Campaign, the character of Boyan the wizard is called Veles' grandson. Veles was also believed to be protector of travelling musicians. For instance, in some wedding ceremonies of northern Croatia (which continued up to the 20th century), the music would not start playing unless the bridegroom, when making a toast, spilled some of the wine on the ground, preferably over the roots of the nearest tree. The symbolism of this is clear, even though forgotten long ago by those still performing it: the musicians will not sing until a toast is made to their patron deity."

Being the God of music is somewhat loosely based on Satan being the one who created music, though this view is what some Christians would state.

When it states that Veles had stolen something from Perun, this details the fire that was stolen from the Gods thus going back to Prometheus. 

Based from the Wiki states on the Armenian God of fire: Vahagn or Vahakn (Armenian:Վահագն), also known as Vahagn Vishapakagh (Վահագն Վիշապաքաղ, 'Vahagn the Dragon-reaper'), is a warrior god in Armenian mythology.^[1]Scholars consider him to be either the thunder, or sun and fire god of the pre-Christian Armenian pantheon, as well as the god of war, bravery and victory.^[2][3]He formed a triad with Aramazd and Anahit.^[4]Vahagn is etymologically derived from*Varhraγn, the Parthian name for the Iranian god Verethragna, although there are key differences between the two deities.^[5]

Vahagn was worshipped at a tripartite temple complex together with his bride Astghik and the goddess Anahit in the district of Taron, on the slopes of a mountain called Karke near the settlement of Ashtishat.^[3][6][7]After Armenia came under Hellenistic influence in antiquity, Vahagn was identified with the Hellenic deity Heracles, but also rarely with Apollo.^[1]

Vahagn is mentioned in a number of Classical Armenian written sources.^[4]For example, in the history attributed to Agathangelos, Armenian king Tiridates III evokes the triad of Aramazd, Anahit and Vahagn in a greeting to his people: "May health and prosperity come to you by the help of the gods, rich fullness from manly Aramazd, providence from Anahit the Lady, and bravery come to you from brave Vahagn."^[9]

Historian Movses Khorenatsi refers to Vahagn as one of the sons of Tigranes(a mythologized composite figure of several Armenian kings in Khorenatsi's history) and records the following song about him:

Heaven was in labor, earth was in labor,
the purple sea was also in labor;
in the sea labor pangs also held
the little red reed.
Along the reed-pipe smoke ascended,
Along the reed-pipe flame ascended.
And from the flame
a red-headed young boy jumped out.
He had (celestial) fire for hair,
and had flame for beard,
and his eyes were suns.

Georges Dumézil said that Vahagn seems closer to the Vedic Vŗtrahan Indra than the Avestan Verethragna, since the former is depicted as a dragon/serpent-slayer like Vahagn, while the latter is not.^[13]Vahagn has frequently been regarded as a counterpart of Indra, but Armen Petrosyan considers the similarities between the two to be underlying Indo-European commonalities rather than the result of direct borrowing, since in that case the dissimilarity with Verethragna would be inexplicable.^[1][14]Philologist Vyacheslav Ivanov considered the Song of Vahagn recorded by Khorenatsi to be "one of the striking examples of Indo-European poetry."^[15]Ivanov says the myth of Vahagn contains several layers, including the later Iranian myth of Verethragna and an earlier Indo-European layer of a god persecuting the enemy.^[16]Armen Petrosyan says Vahagn is a pre-Iranian Armenian god who took on an Iranian name, rather than a complete borrowing.^[15]Petrosyan has also drawn parallels between Vahagn and the Vedic fire deity Agni, based on similarities in the accounts of their birth.^[1]Vahagn may have acquired his attribute of dragon-slayer from the Hurro-Urartian deity Teshub.^[17]

Vahagn was identified with Heracles during the Hellenistic period.^[7]In the 5th-century Armenian translation of the Bible, Vahagn is used to translate Heracles in2 Maccabees4:19, while Khorenatsi states that the song of Vahagn tells of heroic deeds reminiscent of Heracles.^[18]More rarely, he was identified with the sun god Apollo.^[1]John the Baptist has been called the "Christian heir of Vahagn's character," as a church dedicated to him was built near the demolished temple of Vahagn.

Then based on the serpent "Vishap" states this in the Wiki:

The Vishap (Armenian:վիշապ) is a dragon in Armenian mythology closely associated with water, similar to the Leviathan. It is usually depicted as a winged snake or with a combination of elements from different animals.^[1][2]

Mount Ararat was the main home of the Vishap. The volcanic character of the Araratian peak and its earthquakes may have suggested its association with the Vishap. Sometimes with its children, the Vishap used to steal children or toddlers and put a small evil spirit of their own brood in their stead. According to ancient beliefs, the Vishap ascended to the sky or descended therefrom to earth, causing thunderous storms, whirlwinds, and absorption of the sun (causing an eclipse). The dragon was worshipped in a number of Eastern countries, symbolising the element of water, fertility and wealth, and later became a frightful symbol of power. According to ancient legends, the dragon fought Vahagn the Dragon Slayer.

Then there is the story of Typhon. Though there are many versions of this battle, I will detail which excerpt is the most accurate and will explain why: "Typhon, also Typhoeus, Typhaon or Typhos, was a monstrous serpentine giant and one of the deadliest creaturesin Greek mythology. According to Hesiod, Typhon was the son of Gaia and Tartarus. However, one source has Typhon as the son of Hera alone, while another makes Typhon the offspring of Cronus."

"Typhon and his mate Echidna were the progenitors of many famous monsters. Typhon attempted to overthrow Zeus for the supremacy of the cosmos. The two fought a cataclysmic battle, which Zeus finally won with the aid of his thunderbolts. Defeated, Typhon was cast into Tartarus, or buried underneath Mount Etna, or the island of Ischia. Typhon mythology is part of the Greek succession myth, which explained how Zeus came to rule the gods. Typhon's story is also connected with that of Python (the serpent killed by Apollo), and both stories probably derived from several Near Eastern antecedents. Typhon was (from c. 500 BC) also identified with the Egyptian god of destruction Set. In later accounts Typhon was often confused with the Giants."

"In the versions of the battle given by Hesiod, Aeschylus and Pindar, Zeus' defeat of Typhon is straightforward, however a more involved version of the battle is given by Apollodorus. No early source gives any reason for the conflict, but Apollodorus' account seemingly implies that Typhon had been produced by Gaia to avenge the destruction, by Zeus and the other gods, of the Giants, a previous generation of offspring of Gaia."

"According to Apollodorus, Typhon, "hurling kindled rocks", attacked the gods, "with hissings and shouts, spouting a great jet of fire from his mouth." Seeing this, the gods transformed into animals and fled to Egypt (as in Pindar and Nicander). However "Zeus pelted Typhon at a distance with thunderbolts, and at close quarters struck him down with an adamantine sickle".

"Wounded, Typhon fled to the Syrian Mount Kasios, where Zeus "grappled" with him. But Typhon, twining his snaky coils around Zeus, was able to wrest away the sickle and cut the sinews from Zeus' hands and feet. Typhon carried the disabled Zeus across the sea to the Corycian cave in Cilicia where he set the she-serpent Delphyne to guard over Zeus and his severed sinews, which Typhon had hidden in a bearskin." "But Hermes and Aegipan (possibly another name for Pan) stole the sinews and gave them back to Zeus. His strength restored, Zeus chased Typhon to mount Nysa, where the Moirai tricked Typhon into eating "ephemeral fruits" which weakened him. Typhon then fled to Thrace, where he threw mountains at Zeus, which were turned back on him by Zeus' thunderbolts, and the mountain where Typhon stood, being drenched with Typhon's blood, became known as Mount Haemus (Bloody Mountain)."

"Typhon then fled to Sicily, where Zeus threw Mount Etna on top of Typhon burying him, and so finally defeated him."

Another version states this: "The longest and most involved version of the battle appears in Nonnus's Dionysiaca (late 4th or early 5th century AD). Zeus hides his thunderbolts in a cave, so that he might seduce the maiden Plouto, and so produce Tantalus."

"But smoke rising from the thunderbolts, enables Typhon, under the guidance of Gaia, to locate Zeus's weapons, steal them, and hide them in another cave. Immediately Typhon extends "his clambering hands into the upper air" and begins a long and concerted attack upon the heavens. Then "leaving the air" he turns his attack upon the seas. Finally Typhon attempts to wield Zeus' thunderbolts, but they "felt the hands of a novice, and all their manly blaze was unmanned."

"Now Zeus' sinews had somehow – Nonnus does not say how or when — fallen to the ground during their battle, and Typhon had taken them also. But Zeus devises a plan with Cadmus and Pan to beguile Typhon. Cadmus, disguised as a shepherd, enchants Typhon by playing the panpipes, and Typhon entrusting the thuderbolts to Gaia, sets out to find the source of the music he hears."

"Finding Cadmus, he challenges him to a contest, offering Cadmus any goddess as wife, excepting Hera whom Typhon has reserved for himself. Cadmus then tells Typhon that, if he liked the "little tune" of his pipes, then he would love the music of his lyre – if only it could be strung with Zeus' sinews. So Typhon retrieves the sinews and gives them to Cadmus, who hides them in another cave, and again begins to play his bewitching pipes, so that "Typhoeus yielded his whole soul to Cadmos for the melody to charm".

"With Typhon distracted, Zeus takes back his thunderbolts. Cadmus stops playing, and Typhon, released from his spell, rushes back to his cave to discover the thunderbolts gone. Incensed Typhon unleashes devastation upon the world: animals are devoured, (Typhon's many animal heads each eat animals of its own kind), rivers turned to dust, seas made dry land, and the land "laid waste". The day ends with Typhon yet unchallenged, and while the other gods "moved about the cloudless Nile", Zeus waits through the night for the coming dawn. Victory "reproaches" Zeus, urging him to "stand up as champion of your own children!" Dawn comes and Typhon roars out a challenge to Zeus. And a cataclysmic battle for "the sceptre and throne of Zeus" is joined."

"Typhon piles up mountains as battlements and with his "legions of arms innumerable", showers volley after volley of trees and rocks at Zeus, but all are destroyed, or blown aside, or dodged, or thrown back at Typhon. Typhon throws torrents of water at Zeus' thunderbolts to quench them, but Zeus is able to cut off some of Typhon's hands with "frozen volleys of air as by a knife", and hurling thunderbolts is able to burn more of typhon's "endless hands", and cut off some of his "countless heads".

"Typhon is attacked by the four winds, and "frozen volleys of jagged hailstones." Gaia tries to aid her burnt and frozen son. Finally Typhon falls, and Zeus shouts out a long stream of mocking taunts, telling Typhon that he is to be buried under Sicily's hills, with a cenotaph over him which will read "This is the barrow of Typhoeus, son of Earth, who once lashed the sky with stones, and the fire of heaven burnt him up".

(When they state how the sinews of Zeus was taken and the gods had to help him by getting them back, is the same story as the Klamath legend of Llao and Skell, as Skell's heart was taken out, but is stolen by his followers and given to resurrect him for the second battle. This is the story of Dionysus getting torn apart, but is resurrected with the heart)

Here Orochi, the Eight-Headed Dragon by Yamato Takeru is a 1994 Japanese film. The film is based on the Japanese mythology, specifically the birth of Shinto.

Plot: "The film begins with the birth of twin princes. Their father, the emperor of Yamato, feels a great loathing for his one child Ousu. Being convinced that this feeling is a premonition, the emperor orders the shaman Tsukinowa to kill the boy, yet his efforts are spoiled by Amano Shiratori, the White Bird of the Heavens. The emperor's sister, seeing this as a clear sign of divine intervention, takes it upon herself to raise the child. Years later, when the boy has matured into a man, he is given pardon by his father and allowed to return to the castle."

"However, not long after, his mother falls ill and dies mysteriously. This sends his brother into a rage and causes him to attack Ousu, who defends himself and kills his sibling in the process. His father, furious at these events, orders his son to leave the castle and not return until the barbarians living in the Kumaso domain are dealt with. The prince makes haste to complete this task, stopping off at a shrine on his way where, after a quick battle, he befriends a young priestess named Oto who joins him on his journey. They, along with companions Genbu and Seriyu, raid the castle, killing Kumaso Takeru and their god Kumasogami."

"Following this feat, the prince changes his name to Yamato Takeru, yet fails to win the acceptance of his father. His aunt, though, warns him of a great threat looming overhead, as the god Tsukuyomi is poised to return, endangering the Earth. Yamato Takeru must prepare to halt this from occurring. She tells him to bring the enchanted Sword of Dark Clouds to her for safekeeping as it holds a good deal of the god's power. He secures the sword but is tricked by the shaman Tsukinowa, revealed as Tsukuyomi's acolyte, into surrendering it, thus inadvertently restoring the evil lunar deity to full power. Tsukinowa also reveals that it was he who killed Ousu's mother and brother to frame Ousu. A full eclipse falls over earth as the moon god blots out the light of the sun. Takeru is told by the deity Susano'o that his divinely ordained destiny is to destroy Tsukuyomi with the aid of Oto, who is the incarnation of the sun goddess Amaterasu. Susano'o tests him by having him pull a sword from a stone, and tells him that it is the only weapon that can kill Tsukuyomi. Together, Takeru and Oto are transported to the moon to face the evil god, who transforms himself into Orochi, the legendary eight-headed dragon."

"The young heroes are joined by Amano Shiratori in the form of a giant white phoenix, and riding the bird they launch an aerial attack on the dragon. The battle appears impossible and at one point it seems they have both lost their lives, but Oto, taking Takeru's hand, dissolves into light and gives him her life energy. He realizes that the prophecy - that he would become a warrior of the gods once he possessed three lights - has come true, as he now has the shrine mirror, the enchanted sword, and the solar light of Oto's spirit. Takeru transforms into a gigantic golden-armored warrior named Utsuno Ikusagami, who fights and defeats the dragon. When Tsukuyomi falls, Oto is restored to life. Susano'o again appears and tells him to seal the moon god's spirit into his comma-shaped jewel, then cast it into the sky. The eclipse ends and the sun again shines on earth. As Takeru and Oto mount the White Bird to fly home to Earth, Takeru's father says he wants to see his son."

Then comes the mythology of the Thunderbird legend. Based from the Wiki states this segment:

"The thunderbird is a mythological bird-like spirit in North American indigenous peoples' history and culture. It is considered a supernatural being of power and strength. It is frequently depicted in the art, songs, and oral histories of many Pacific Northwest Coast cultures but is also found in various forms among some peoples of the American Southwest, US East Coast Great Lakes, and Great Plains."

"The thunderbird is said to create thunder by flapping its wings (Algonquian), and lightning by flashing its eyes (Algonquian, Iroquois). Across cultures, thunderbirds are generally depicted as birds of prey, or hybrids of humans and birds. Thunderbirds are often viewed as protectors, sometimes intervening on people's behalf, but expecting veneration, prayers, and gifts. Archaeologically, sites containing depictions of thunderbirds have been found dating to the past 4,000 years. Petroglyphs of thunderbirds are found near Twin Bluffs, Wisconsin. They are in a shelter that was probably used c. 250 BCE to 1500."

"The thunderbird myth and motif is prevalent among Algonquian peoples in the Northeast, i.e., Eastern Canada(Ontario,Quebec, and eastward) and Northeastern United States, and the Iroquois peoples(surrounding the Great Lakes).The discussion of the Northeast region has included Algonquian-speaking people in the Lakes-bordering U.S. Midwest states (e.g., Ojibwe in Minnesota)."

"In Algonquian mythology, the thunderbird controls the upper world while the underworld is governed by the underwater panther or Great Horned Serpent. The thunderbird creates not just thunder (with its wing-flapping) but lightning bolts, which it casts at the underworld creatures. Thunderbird in this tradition may be depicted as a spread eagled bird (wings horizontal head in profile), but also quite common with the head facing forward, thus presenting an X-shaped appearance overall."

"The Ojibwe version of the myth states that the thunderbirds were created by Nanabozhoto fight the underwater spirits. Thunderbirds also punished humans who broke moral rules. The thunderbirds lived in the four directions and arrived with the other birds in the springtime. In the fall, they migrated south after the end of the underwater spirits' most dangerous season."

"The Menominee of Northern Wisconsin tell of a great mountain that floats in the western sky on which dwell the thunderbirds. They control the rain and hail, and delight in fighting and deeds of greatness. They are the enemies of the great horned snakes (the Misikinubik) and have prevented these from overrunning the earth and devouring humankind. They are messengers of the Great Sun himself."

"The thunderbird motif is also seen in Siouan-speaking peoples, which include tribes traditionally occupying areas around the Great Lakes. Ethnographer George Amos Dorsey transcribed a tale from the Arikaras with the title The Boy who befriended the Thunderbirds and the Serpent: a boy named Antelope-Carrier finds a nest with four young thunderbirds; their mother comes and tells the human boy that a two-headed Serpent comes out of the lake to eat the young."

"Similar beings appear in mythologies the world over. Examples include the Chinese thunder-god Leigong, the Hindu Garuda and the African lightning bird."

So, pretty much you can see how the statement on the Thunderbirds living in the "upper world" and the serpents controlling the underworld are are gods of the "water spirits", has a in depth connections to Angels having wings and the demons having horns. This is where we are seeing the origin of "God battling Satan" is based on.

"An under-water panther (Ojibwe: Mishipeshu (syllabic:ᒥᔑᐯᔓ) or Mishibijiw (ᒥᔑᐱᒋᐤ)[mɪʃʃɪbɪʑɪw]), is one of the most important of several mythical water beings among many Indigenous peoples of the Northeastern Woodlands and Great Lakes region, particularly among the Anishinaabe. Mishipeshu translates into "the Great Lynx". It has the head and paws of a giant cat but is covered in scales and has dagger-like spikes running along its back and tail. Mishipeshu calls Michipicoten Island in Lake Superior his home and is a powerful creature in the mythological traditions of some Indigenous North American tribes, particularly Anishinaabe, the Odawa, Ojibwe, and Potawatomi, of the Great Lakes region of Canada and the United States. In addition to the Anishinaabeg, Innu also have Mishibizhiw stories."

"To the Algonquins, the underwater panther was the most powerful underworld being. The Ojibwe traditionally held them to be masters of all water creatures, including snakes. Some versions of the Nanabozho creation legend refers to whole communities of water lynx. Some archaeologists believe that underwater panthers were major components of the Southeastern Ceremonial Complex of the Mississippian culture in the prehistoric American Southeast."

"In mythologies of the indigenous peoples of the Great Lakes, underwater panthers are described as water monsters that live in opposition to the thunderbirds, masters of the powers of the air. Underwater Panthers are seen as an opposing yet complementary force to the Thunderbirds, and they are engaged in eternal conflict. The underwater panther was an amalgam of parts from many animals: the body of a wild feline, often a cougar or lynx; the horns of deer or bison; upright scales on its back; occasionally feathers; and parts from other animals as well, depending on the particular myth. Underwater panthers are represented with exceptionally long tails, occasionally with serpentine properties. The creatures are thought to roar or hiss in the sounds of storms or rushing rapids. Mishipizheu were said to live in the deepest parts of lakes and rivers, where they can cause storms. Some traditions believed the underwater panthers to be helpful, protective creatures, but more often they were viewed as malevolent beasts that brought death and misfortune. They often need to be placated for safe passage across a lake. As late as the 1950s, the Prairie Band of Potawatomi Indians performed a traditional ceremony to placate the Underwater Panther and maintain balance with the Thunderbird. When ethnographer Johann Georg Kohl visited the United States in the 1850s, he spoke with a Fond du Lac chief, who showed Kohl a piece of copper kept in his medicine bag. The chief said it was a strand of hair from the mishibizhiw, and thus considered extremely powerful."

Interesting enough, the copper as it's hair probably pays homage to the being having reddish type if hair.

"Horned serpents appear in the oral history of numerous Native American cultures, especially in the Southeastern Woodlands and Great Lakes. Muscogee Creek traditions include a Horned Serpent and a Tie-Snake, estakwvnayv in the Muscogee Creek language. These are sometimes interpreted as being the same creature and sometimes different—similar, but the Horned Serpent is larger than the Tie-Snake. To the Muscogee people, the Horned Serpent is a type of underwater serpent covered with iridescent, crystalline scales and a single, large crystal in its forehead. Both the scales and crystals are prized for their powers of divination. The horns, called chitto gab-by, were used in medicine. Jackson Lewis, a Muscogee Creek informant to John R. Swanton, said, "This snake lives in the water has horns like the stag. It is not a bad snake. ... It does not harm human beings but seems to have a magnetic power over game." In stories, the Horned Serpent enjoyed eating sumac, Rhus glabra."

"Alabama people call the Horned Serpent into såktcoor "crawfish snake", which they divide into four classifications based on its horns' colors, which can be blue, red, white, or yellow.^[7]

Yuchi people made effigies of the Horned Serpent as recently as 1905. An effigy was fashioned from stuffed deer hide, painted blue, with the antlers painted yellow. The Yuchi Big Turtle Dance honors the Horned Serpent's spirit, which was related to storms, thunder, lightning, disease, and rainbows."

Among Cherokee people, a Horned Serpent is called an uktena. Anthropologist James Mooney, describes the creature:

"Those who know say the Uktena is a great snake, as large around as a tree trunk, with horns on its head, and a bright blazing crest like a diamond on its forehead, and scales glowing like sparks of fire. It has rings or spots of color along its whole length, and cannot be wounded except by shooting in the seventh spot from the head, because under this spot are its heart and its life. The blazing diamond is called Ulun'suti—"Transparent"—and he who can win it may become the greatest wonder worker of the tribe. But it is worth a man's life to attempt it, for whoever is seen by the Uktena is so dazed by the bright light that he runs toward the snake instead of trying to escape. As if this were not enough, the breath of the Uktena is so pestilential, that no living creature can survive should they inhale the tiniest bit of the foul air expelled by the Uktena. Even to see the Uktena asleep is death, not to the hunter himself, but to his family."

According to Sioux belief, the Unhcegila (Ųȟcéǧila) are dangerous reptilian water monsters which lived in ancient times. They were of various shapes. In the end the Thunderbirds destroyed them, except for small species like snakes and lizards. This belief may have been inspired by finds of dinosaur fossils in Sioux tribal territory. The Thunderbird may have been inspired partly by finds of pterosaur skeletons."

Then based on the "Baal Cycle" states this in the Wiki:

The Baal Cycle is an Ugaritic text (c. 1500–1300 BCE) about the Canaanite god Baʿal (𐎁𐎓𐎍lit."Owner", "Lord"), a storm god associated with fertility. It consists of six tablets, itemized asKTU1.1–1.6. Tablets one (KTU 1.1) and two (KTU 1.2) are about the cosmic battle between the storm-god Baal and the sea god Yam, where the former attains victory. The next two tablets (KTU 1.3–1.4) describe the construction of Baal's palace that marks his cosmic kingship. The last two tablets (KTU 1.5–1.6) describe Baal's struggles againstMot, the god of the underworld.

The text identifies Baal as the god Hadad, the Northwest Semitic form of Adad. The stories are written in Ugaritic, a Northwest Semitic language, and written in a cuneiform abjad. It was discovered on a series of clay tablets found in the 1920s in the Tell of Ugarit (modern Ras Shamra), situated on the Mediterranean coast of northern Syria, a few kilometers north of the modern city of Latakia and far ahead of the current coastline. The stories include The Myth of Baʿal Aliyan and The Death of Baʿal. A critical edition of the Baal Cycle was published by Charles Virolleaud in 1938. A fragment of the Baal Cycle was discovered in pre-Islamic Arabia.

Tablets 1–2: Baal and Yam

The beginning of the story of the battle between Baʿal and Yam is lost, but we first hear of Kothar-wa-Khasis, the craftsman of the gods being summoned to El, who resides at the confluence of the rivers and the two oceans. El tells him to build a palace for Yam, and to do so quickly in case Yam should take hostile action. When Athtar hears of this, s/he takes a torch down, the purpose of which is not known due to the damaged text, but s/he is confronted by Shapash, who tells her/him that El is to bestow royal power on Yam, and so opposition is useless. Athtar then complains that he has no place or court, and that he now fears defeat at the hands of Yam. Shapash suggests the reason to be that he has no wife, perhaps meaning he is too young.^[5]

The text following is lost, but resumes with El sitting in his banquet hall. Here he is addressed by the other deities, who complain that Yam is being put to shame. Though the damaged text makes the reason unclear, it seems the reason is connected to his palace. The gods threaten that unless this situation is resolved they will wreak destruction. El gives themcurdled milk, apparently a mark of esteem. El calls that his son's name hitherto has been Yaw, a personal name. El then proclaims that his name should be 'darling of El'. However, he informs Yam that he would have to drive his rival Baʿal from his throne and the seat of his dominion. Following this there is a banquet.^[6]

When the story resumes, Kothar-wa-Khasis has arrived under the sea and tells Yam that he has risen presumptuously to his position, and that Baʿal cannot stand idly by. He threatens that Yam will be destroyed by a magic weapon. Yam then sends word to El, on the mount of Lel, El's abode, demanding the surrender of Baʿal and his henchmen. However, Baʿal, upon hearing this on the mount of Lel attacks the envoys, though Anat and Athtart hold him back.^[7] When the story resumes, Baʿal has already started to battle Yam, but is in despair due to the power of Yam, and the fierce sea-creatures. Kothar-wa-Khasis assures Baʿal that he will be victorious and will win a kingdom without end, and fetches two divine clubs for Baʿal's use. He gives them magic names, and strikes Yam the first two times himself. Baʿal then drags out Yam and finishes him off. Then Athtart tells Baʿal to scatter his rival, which he does, and then he cries out that Yam is dead, and that he shall be King.

Then there is the battle between Skell and Llao, as one battle the other for the control of the world. Here is what the Wiki states on these two deities.

Llao: "Llao is the god of the underworld in the mythology of the Klamath Native American tribe. Llao fought a great battle with the sky god, Skell, which caused the eruption of Mount Mazama, creating Crater Lake."

Llao and Skell: "The Klamath tell many stories of the powerful spirits Llao and Skell. Llao was the spirit of the underworld who lived beneath Mount Mazama. Skell was the spirit of the sky "above-world". In the beginning, the stories say that Llao was able to pass through a hole and climb to the top of Mount Mazama where he could almost touch the stars where Skell lived. The followers of the spirits could reportedly take the form of animals such as deer, fox, and dove, and they would play together."

Llao and Crater Lake: "The story goes on to explain the origins of Crater Lake, known as gii was in the Klamath language. The Klamath stories say that quarrels began, and war broke out between Llao and Skell. One time Llao visited atop he saw Loha, the daughter of the Klamath Indian Chief, and fell in love with her. He became extremely angry when she rejected his hideous, underworld nature, and cursed the Klamath with fire that rained down on them. The Klamath turned to Skell for help."

"In response to the Klamath people's pleadings, Skell descended from the sky to the top of Mount Shasta. A furious battle ensued, Skell from Mount Shasta and Llao from Mount Mazama. The ferociousness of the fight led two medicine men to jump into the pit of the underworld as a sacrifice to appease the spirits. Inspired by their sacrifice, Skell fought harder and defeated Llao, driving him deep into the underworld.The story goes on to explain that Skell then covered the hole to the underworld with the top of Mount Mazama to imprison Llao forever. As a final act, Skell covered the remains of the dark pit with water to restore peace and tranquility to the land, which became Crater Lake."

Last Great Battle: "Klamath myths include many stories of battle, including one where Llao kills Skell. In this story, Llao is able to defeat Skell in a battle to the death. However, when Llao's followers take Skell's heart up a mountain to celebrate, Skell's followers are able to steal back the heart and use it to restore Skell back to life. During the story of the "Last Great Battle", Llao is killed by Skell. Skell orders that Llao's body is to be cut up and thrown to the creatures of the lake. To trick the lake creatures loyal to Llao, Skell's followers claim the body parts are Skell's, so the creatures gobble them down. When Llao's head is thrown into the lake, the creatures recognize it and refuse to eat it. The story explains that Llao's head is now Wizard Island."

The cutting up the body parts of Llao is the same story as Set cutting up Osiris into pieces, and throwing them into the swamp for the animals to eat. Then there is the story of the fire God Kagu-tsuchi who was cut up into 8 pieces by Izanagi. It's noted that the number "8" could pertain to the 8 heads of Orochi, thus connecting to the 8 Gods coming forth from the pieces. Then from there we can get a good observation of the Goddess "Coyolxāuhqui" that was cut up by Huitzilopochtli, as this is pretty much Set cutting up Osiris but with the gender changed to female. They state that she is equivalent to Artemis, who is known as Diana of the Ephesians.

Isaiah 51:9 “Awake, awake, put on strength, O arm of the LORD; awake, as in the ancient days, in the generations of old. Art thou not it that hath cut Rahab, and wounded the dragon?”

Ezekiel 29:3-5: "3Speak, and say, Thus saith the Lord GOD; Behold, I am against thee, Pharaoh king of Egypt, the great dragon that lieth in the midst of his rivers, which hath said, My river is mine own, and I have made it for myself. 4But I will put hooks in thy jaws, and I will cause the fish of thy rivers to stick unto thy scales, and I will bring thee up out of the midst of thy rivers, and all the fish of thy rivers shall stick unto thy scales. 5And I will leave thee thrown into the wilderness, thee and all the fish of thy rivers: thou shalt fall upon the open fields; thou shalt not be brought together, nor gathered: I have given thee for meat to the beasts of the field and to the fowls of the heaven."

"Protector of Ra" based from the Wiki on Set: "Set was depicted standing on the prow of Ra's barge defeating the dark serpent Apep. In some Late Period representations, such as in the Persian Period Temple of Hibis at Khargah, Set was represented in this role with a falcon's head, taking on the guise of Horus. In the Amduat, Set is described as having a key role in overcoming Apep."

It always comes back to the God that was cut up who becomes the God of the Underworld who is represented in the dog and dragon symbolism. Here shows Set cutting up Osiris who represents Sirius is based on the battle between Michael and the Dragon.

Now, here is an excerpt from "The Secret Doctrine: Origin of the Satanic myth" by Madame Blavatsky: "Seth, the reputed forefather of Israel, is only a Jewish travesty of Hermes, the God of Wisdom, called also Thoth, Tat, Seth, Set, and Satan. He is also Typhon -- the same as Apophis, the Dragon slain by Horus; for Typhon was also called Set. He is simply the dark side of Osiris, his brother, as Angra Mainyu is the black shadow of Ahura-mazda."

It's interesting how Set is mentioned here, because just when learning about him states that he is the god of fire, chaos, envy, a trickster deity and his symbol is Mercury and is the Roman version of Hermes, who in turn would be Thoth and then Enoch. Then states the "forefather of Israel", but she states Seth as "Set" linking to the Egyptian God Set, though I will later detail how there are two beings called "Thoth" or "Enoch" later on in the Chapters. Everything is compiled in this series but will be separated later on. Now, based from the story of Egyptian God Set cutting up Osiris into pieces, is merely the story of Garuda defeating the Dragon God Vritra.

As stated, Set is considered the foe against Apep before these apparent changes. 

So, even though Blavatsky states the previous, but in this perspective shows that Set takes on the bird symbolism as "Ra" thus leading to the God who cuts up the dragon God Apep as Osiris is linked to Bacchus (As I will detail later on). Based from certain info, Set was said to have red hair, but also Osiris was said to have "red hair" as well. Even though Blavatsky states Set to be the shadow of Osiris, it's shown that Osiris is Yama, Shiva the dragon God Vritra and Sun Wukong. Osiris and Typhon would be one and the same at this point as he would be the God of the Underworld Mahakala for the Saturn and underworld symbolism. 

Then based from the "Bennu Bird" states this: "Bennu is an ancient Egyptian deity linked with the Sun, creation, and rebirth. He may have been the original inspiration for the phoenix legends that developed in Greek mythology. According to Egyptian mythology, Bennu was a self-created being said to have played a role in the creation of the world. He was said to be the Ba of Ra and to have enabled the creative actions of Atum."

"The deity was said to have flown over the waters of Nun that existed before creation, landing on a rock and issuing a call that determined the nature of creation. He also was a symbol of rebirth and, therefore, was associated with Osiris. Some of the titles of Bennu were "He Who Came Into Being by Himself", and "Lord of Jubilees"; the latter epithet referred to the belief that Bennu periodically renewed himself like the sun was thought to do. His name is related to the Egyptian verb wbn, meaning "to rise in brilliance" or "to shine".

"The Greek historian Herodotus, writing about Egyptian customs and traditions in the fifth century BC, wrote that the people at Heliopolis described the "phoenix" to him. They said it lived for 500 years before dying, resuscitating, building a funerary egg with myrrh for the paternal corpse, and carrying it to the temple of the Sun at Heliopolis. His description of the phoenix likens it to an eagle with red and gold plumage, reminiscent of the sun."

"Long after Herodotus, the theme ultimately associated with the Greek phoenix, with the fire, pyre, and ashes of the dying bird developed in Greek traditions. The name, "phoenix", could be derived from "Bennu" and its rebirth and connections with the sun resemble the beliefs about Bennu, however, Egyptian sources do not mention a death of the deity."

Now, they state the Bennu bird symbolism to the "resurrection" of Osiris, linking to the resurrection of Bacchus (though this God will connect to the Saturn symbolism) though I find another alternative story as instead of the bird it is the seven headed serpent to be the spirit of the Lord that flowed over the waters. The Osiris symbol was originally the serpent as will detail in "Thoth is Enoch: India is Egypt, land of the Nagas...".

Now, here in Genesis 1:2:

“And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.”

Isaiah 27:1: “In that day the LORD with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the dragon that is in the sea.”

Based from "www.bibliotecapleyades.net" details the story of Amram who was said to be Moses' father. But based on this topic details strange passages based on the two watchers struggling against each other for the dominion of mankind. Testament Of Amram (4Q543, 545-548) extracted from 'Dead Sea Scrolls Uncovered' by Robert Eisenman and Michael Wise:

Manuscript B Fragment: 1

(9) [... 1 saw Watchers]

(10) in my vision, the dream-vision. Two (men) were fighting over me, saying ...

(11) and holding a great contest over me. I asked them, ‘Who are you, that you are thus empo[wered over me?’ They answered me, ‘We]

(12) [have been em]powered and rule over all mankind.’ They said to me, ‘Which of us do yo[u choose to rule (you)?’ I raised my eyes and looked.]

(13) [One] of them was terr[i]fying in his appearance, [like a serpent, [his] cl[oa]k many-colored yet very dark...

(14) [And I looked again], and ... in his appearance, his visage like a viper, and [wearing ...]

(15) [exceedingly, and all his eyes ...]

Fragment 2 (1) [... em]powered over you ...

(2) [I replied to him,] ‘This [Watcher,] who is he?’ He answered me, ‘This Wa[tcher ...]

(3) [and his three names are Belial and Prince of Darkness] and King of Evil.’ I said, ‘My lord, what dom[inion ...?’]

(4) [’and his every way is darkened, his every work da[rk]ened. In Darkness he ...

(5) [Yo]u saw, and he is empowered over all Darkness, while I [am empowered over all light.]

(6) [... from] the highest regions to the lowest I rule over all Light, and over al[1 that is of God. I rule over (every) man]

Fragment 3 (1) [of His grace and peace. Over all the sons of Lig]ht have] I been empowered.’ I asked him, [What are your names ... ?’]

(2) He [s]aid to me, ‘[My] three names are [Michael and Prince of Light and King of Righteousness.’]

Manuscript ?Column 1

(1) ... tribes ...

(2) to them and all [his] ways [are True ...]

(3) [and he will heal] them of all their ills ... (

4) them from death and from de[struction ...]

(5) [o]ver you, blessed sons ...

(6) all the generations of Israel for[ever ...]

(7) angry at me, for the sons of Ri[ghteousness ...]

(8) between the sons of Lying and the sons of Tr[uth ...]

(9) I [will make known to you;] certainly I will inform y[ou that all the sons of Light]

(10) will be made Light, [whereas all the sons] of Darkness will be made Dark. [The sons of Light ...]

(11) and in all their Knowledge [they will] be, and the sons of Darkness will be dest[ro]yed ...

(12) For all foolishness and Evi[1 will be darkened, while all [pea]ce and Truth will be made Ligh[t. All the sons of Light]

(13) [are destined for Light and [eternal j]oy (and) [re]joic[ing.] All the sons of Dark[ness] are destined for [Darkness and death]

(14) and destruction ... Lightness for the people. And I shall reveal [to you ...]

(15) from Darkness, for all ...

(16) the sons of [Darkness ...] and all the sons of Light ..."

Based from Samael states this in the Wiki:

"Samael, "Venom/Poison of God"; is an archangel in Talmudic and post-Talmudic lore; a figure who is the accuser or adversary (Satan in the Book of Job), seducer, and destroying angel (in the Book of Exodus). Although many of his functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel, he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners.

He is considered in Midrashic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans. Although he condemns the sins of man, he remains one of God's servants. He appears frequently in the story of the Garden of Eden and engineered the fall of Adam and Eve with a snake in writings during the Second Temple period.^[5]However, the serpent is not a form of Samael, but a beast he rode like a camel.^[8]In a single account he is also believed to be the father of Cain,^[6][9]as well as the partner of Lilith. In early Talmudic and Midrashic literature he is not identified with Satan yet. Only in later Midrashim he is entitled "head of satans".^[10] As guardian angel and prince of Rome, he is the archenemy of Israel. By the beginning of Jewish culture in Europe, Samael had been established as a representative of Christianity, due to his identification with Rome."

"In some Gnostic cosmologies, Samael's role as source of evil became identified with the Demiurge, the creator of the material world. Although probably both accounts originate from the same source, the Gnostic development differs from the Jewish development of Samael, in which Samael is merely an angel and servant of God."

"Samael was first mentioned during the Second Temple periodand immediately after its destruction. He is first mentioned in the Book of Enoch, which is a part of the Jewish apocrypha, along with other rebellious angels. In Enoch 1, he is one of the Watchers who descended to Earth to copulate with human women, although he is not their leader, this being Samyaza.

In the Greek Apocalypse of Baruch,^[5]he is the dominant evil figure. Samael plants the Tree of knowledge, thereupon he is banished and cursed by God. To take revenge, he tempts Adam and Eve into sin by taking the form of the serpent. He appears further as the embodiment of evil in the Ascension of Isaiah and is called by various names:

• MelkiraHebrew:מלך רע, "king of evil/wicked"
• Malkira/Malchiraמלאך רע, "Messenger of evil"
• Belkiraprob.בעל קיר, "lord of the wall"
• Bechiraבחיר רע, "elect/chosen of evil

The names Belial and Satan are also applied to him, and he gains control of King Manasseh to accuse Isaiah of treason.

In Kabbalah (A. E. Waite, 255), Samael is described as the "severity of God," and is listed as fifth of the archangels of the world of Briah. Among his portions are Esau, the people who inherit the sword and bring war; the goats and se'irim (demons); and the destroyer angels.^[10]

Although both Samael and Lilith are major demons in earlier Jewish traditions, they do not appear paired until the second half of the thirteenth century, when they are introduced together.^[19]Lilith is a demon created alongside Adam, originally created for the role Eve would fill, who then becomes Samael's bride. With her, Samael created a host of demon children, including a son, the "Sword of Samael"^[20](or of Asmodai).

In the Kabbalistic work Treatise on the Left Emanation, Samael is part of the qlippoth, prince of all demons, and spouse of Lilith.^[6]The two are said to parallel Adam and Eve, being emanated together from the Throne of Glory as a counterpart. Asmodeus is also mentioned to be subservient to Samael and married to a younger, lesser Lilith.^[22]According to the treatise, God castrated Samael in order not to fill the world with their demonic offspring, this being the reason why Lilith seeks to fornicate with men.

"In the Zohar, one of Kabbalah's main works, Samael is described as a leader of the divine forces of destruction, being part of the qlippoth. He is mentioned again as the serpent's rider,^[8]and is described as having mated with Eisheth Zenunim, Na'amah, and Agrat bat Mahlat, all being "angels" of sacred prostitution.^[23]Notably, the same work later calls him Azazel,^[8]which might be a case of mistaken identity, as Azazel may be himself in Zoharistic lore a combination of the angels Aza and Azrael."

Here states this: "According to the treatise, God castrated Samael in order not to fill the world with their demonic offspring, this being the reason why Lilith seeks to fornicate with men."

It's interesting that the statement of "God castrating Samael's Phallus", gives subtle detail on the Phallus of Osiris and Bacchus symbolism. Now, the Watcher that looked like the serpent was said to have "eyes", thus relating to the Peacock symbology. I remember from a particular source (I don't remember the source material) on a vision based from Ignatius of Loyola who would be the founder of the Jesuits, and had stated of a vision of "eyes" depicted on a certain Angelic being.

Then we come to "Angra Mainyu" battling Ahura Mazda, details this excerpt:

"It is not that I cannot create anything good, but that I will not. „ ~ Angra Mainyu about his hatred of creating anything good and thus choosing to be evil, before he creates a peacock just to make a point."

Now, based on this statement details the Peacock as a representation of good, but is shown to belong to the Devil. Now, the Devil is supposed to be Samael who is called Simoom or hot wind, which connects to Typhon as the Scorcher or burner and the fire God. This would be Ahi as Agni who is Vritrasura, who is linked to Shiva the Black God with red hair.

Now, let's talk about this significant weapon that is used to defeat the opposing Gods. This weapon is called the "Vajra" weapon. Let's see what the Wiki states on this weapon: "A vajra is a ritual weapon symbolizing the properties of a diamond (indestructibility) and a thunderbolt (irresistible force). The vajra is a type of club with a ribbed spherical head. The ribs may meet in a ball-shaped top, or they may be separate and end in sharp points with which to stab."

"The vajra is the weapon of the Indian Vedic rain and thunder-deity Indra, and is used symbolically by the dharma traditions of Buddhism, Jainism and Hinduism, often to represent firmness of spirit and spiritual power. According to the Indian mythology, vajra is considered one of the most powerful weapons in the universe. The use of the vajra as a symbolic and ritual tool spread from the Hindu religion to other religions in India and other parts of Asia."

"According to Asko Parpola, the Sanskrit vajra- and Avestan vazra- both refer to a weapon of the Godhead, and are possibly from the Proto-Indo-European root *weg'- which means "to be(come) powerful". It is related to Proto-Finno-Uralic *vaśara, "hammer, axe", but both the Sanskrit and Finno-Ugric derivatives are likely Proto-Aryan or Proto-Indo-Aryan but not Proto-Iranian, state Parpola and Carpelan, because of its palatalized sibilant. It is cognate to Ukonvasara from Finnish mythology, and Mjolnir from Norse mythology."

"Rigveda The earliest mention of the vajra is in the Rigveda, part of the four Vedas. It is described as the weapon of Indra, the chief among Gods. Indra is described as using the vajra to kill sinners and ignorant persons. The Rigveda states that the weapon was made for Indra by Tvastar, the maker of divine instruments. The associated story describes Indra using the vajra, which he held in his hand, to slay the asura Vritra, who took the form of a serpent."

"On account of his skill in wielding the vajra, some epithets used for Indra in the Rigveda were Vajrabhrit (bearing the vajra), Vajrivat or Vajrin (armed with the vajra), Vajradaksina (holding the vajra in his right hand), and Vajrabahu or Vajrahasta (holding the vajra in his hand)."

"The association of the Vajra with Indra was continued with some modifications in the later Puranic literature, and in Buddhist works. Buddhaghoṣa, a major figure of Theravada Buddhism in the 5th century, identified the Bodhisattva Vajrapani with Indra."

In the Rig Vedas states book 6.17.10 “Yea, strong one! Tvastar turned for thee, the mighty, the bolt with a thousand spikes and hundred edges, eager and prompt at will, wherewith thou crushed the boasting dragon…”

(Amongst the few verses of the Rig Vedas actually state Indra to having blonde hair. R.V. 10.96.8 "At the swift draught the Soma-drinker waxed in might, the Iron One with yellow beard and yellow hair. He, Lord of Tawny Coursers, Lord of fleet-foot Mares, will bear his Bay Steeds safely over all distress."

Verse 5 "5 Thou, thou, when praised by men who sacrificed of old. hadst pleasure in their lauds, O Indra golden-haired. All that befits thy song of praise thou welcornest, the perfect pleasant gift, O Golden-hued from birth."

R.V.10.23.4 "4 With him too is this rain of his that comes like herds: Indra throws drops of moisture on his yellow beard. When the sweet juice is shed he seeks the pleasant place, and stirs the worshipper as wind disturbs the wood." Interesting statements on the term "Yellow beard".

This is the same weapon that is wielded by Indra, Perun, and Marduk, Zeus, Jupiter etc. The Vajra weapon is very important to understand, as this is the weapon that defeated the "Red Dragon".

Now, this version of Hermes is "Hermanubis" (Mercury and Anubis) as shown stepping on the dragon. Based on "The Secret Doctrine" (origin of the Satanic myth pg 385) Blavatsky makes this excerpt:

"Samael or Satan, the seducing Serpent of Genesis, and one of the primeval angels who rebelled, is the name of the "Red Dragon." He is the Angel of Death, the Talmud saying that "the Angel of Death and Satan are the same," and, killed by Michael, he is once more killed by St. George, who also is a Dragon Slayer; but see the transformations of this. Samael is identical with the Simoom, the hot wind of the desert, or again with the Vedic demon of drought, as Vritra; "Simoom is called Atabutos" or-- Diabolos, the devil."

"Typhon, or the Dragon Aphophis -- the Accuser in the "Book of the Dead" -- is worsted by Horus, who pierces his opponent's head with a spear; and Typhon is the all-destroying wind of the desert, the rebellious element that throws everything into confusion. As Set --he is the darkness of night, the murderer of Osiris, who is the light of day and the sun. Archaeology demonstrates that Horus is identical with Anubis, * whose effigy was discovered upon an Egyptian monument, with a cuirass and a spear, like Michael and St. George. Anubis is also represented as slaying a dragon, that has the head and tail of a serpent. (See Lenoir's "Du Dragon de Metz.")

Now, it's interesting to see this statement on Anubis' connection to Horus and Michael the Archangel (due to symbolism means as well), however, there is more to this story. Based on the symbolism of Osiris is linked to Anubis (as they are one and the same) connects to Samael and Satan, is actually worsted by Michael the Archangel (the Dragon is linked to the dog as Anubis). Here are some Catholic paintings of Michael the Archangel stabbing Satan who is in the form of a dog. The dog symbolism is based on Anubis and the star Sirius which is deemed "bright and morning star" along with Venus and Mercury. This will detail the fall of the "Lord of Sirius" who is Dionysus, Anubis, Osiris, Ogun, Yama, Hades Serapis to Iblis, Melek Taus and Shiva going back to Agni. Even though they show Hermanubis stepping on the serpent however, in other symbolism the Dragon is depicted as a Dog, thus connecting to the defeat of the God of the Underworld. One of the symbols of Satan is the Dog and will connect to "Dagon" and the bright and morning star called "Sirius". Based on the symbolism, as I research more into the Tengu (as they are stated to be from Tiangou as the Dog) the bird God is shown stepping on the dog even though they state that he rides upon the dog. The Tiangou Dog deity who is linked to Sirius is defeated by the Archer, in the same way as the Bird God who steps on the dog or fox whereas Michael who does the same thing. The Japanese typically called the bird deity Izuna Daigongen. 

Based from the website "greatdreams.com" states this excerpt: "The Peacock Angel in other Religions The Yezidis maintain that Tawsi Melek is manifest in all religions, although not always in the form of a peacock. It is because of this that the various manifestations of Tawsi Melek are not grouped together as being his various masks. The following are just a few of the various manifestations of Tawsi Melek in religions worldwide:

Murugan/Skanda/Sanat Kumara of the Hindus

Al-Khadir, the “Green Man,” of the Moslems King

Melchizedek of the Jews

St. George of the Knights Templar

Enki of the Sumerians

Dionysus of the Greeks

Osiris of the Egyptians

Quetzlcoatl of the Mexicans

Masaw of the Hopi Indians.

The Peacock Angel in Christianity:

"Since its inception, the Peacock Angel has been manifest in the Christian religion as the leader of the Seven Archangels, St. Michael, whose earthly reflection is St. George, which is a name for Al-Khadir (which is a Sufi for Tawsi Melek) The color ray associated with both Michael and Tawsi Melek is blue, and like Tawsi Melek’s Hindu manifestation of Karttikeya, the Commander of the Angelic Host, St. Michael serves a similar function in Christianity."

"The symbol of the peacock has long been embraced within Christianity. The bird was the original symbol of the Catholic Church (the peacock denoted the many-eyed church) and it was an early symbol of Jesus, denoting the Christ’s resurrection and immortality. Because of these associations to the Christ peacocks were commonly portrayed in medieval paintings hovering around the baby Jesus’s crib."

"During the time Jesus walked the Earth, and also afterwards, the peacock alternated with the phoenix as the symbol of immortality in both Egypt and the Middle East. It is for this reason that the peacock was associated with the Christian St. Barbara even though she was the patron saint of Heliopolis, the ancient home of the phoenix."

"The Pope's Peacock Standard on display at Charlemagne's Coronation One of the great mysteries of Jesus and his Apostles is the story of St. Thomas and how he became transformed into a peacock in India. According to legend, after embarking upon his proselytizing mission in Chennai, the southern India headquarters of the Peacock Angel as the Hindu Murugan, St. Thomas quickly attracted the censure of the local priesthood who resolved to kill him."

"But when they went to locate St. Thomas the apostle had transformed himself into a peacock and was thus very hard to track down. When they did finally capture St. Thomas the apostle died as a peacock rather than a man. Speculation suggests that St. Thomas may have associated the peacock with his master Jesus and united with him at the completion of his life."

(Another interesting note was from Credo Mutwa's interview by David Icke, in the minute mark of 2:37-38, detailed a strange encounter before Icke's visit. He stated that there was a group of Americans that came to him and threatened to shut up or they'll kill his wife, and that some creature who goes by "Aza a Zar"? or Melchizedek is watching him. He doesn't detail any further but talks about Lake Titicaca and the UFOs. I couldn't make out the first name but it's an alternate name to Melchizedek. There are secret societies in Africa (and all over the world), but sure enough many secrets were spilled in that interview)

Amongst the Tamil he would be called "Murugan", to the Yezidiz is Melek Taus, and to the Christians "Michael the Archangel" and "Melchizedek". However, based on the fall of Satan as Melek Taus states these are his incarnations. Bacchus or Dionysus is the Devil and is the God of the underworld. Osiris is Anubis and is the God of the underworld. Quetzalcoatl the serpent God and Xolotl the dog god are considered as twins, but are really one and the same deity. Massaw or Massau'u is the God of the dead or Skeleton God mentioned in "Legend of the Fallen Angel: Agni is Shiva the Red Dragon" and is Hermes who is the Hopi version of the Devil. They state "the green man" of the Muslims, though that would be Cernunnos who is Shiva. St. George is the Medieval version of Michael and the Enki is the God of the Water linked to Prometheus, Poseidon and the Serpent in the Bible.

Now what's shown is that if Michael the Archangel is Melek Taus then he would be the Red Dragon that was cast out of Heaven, however, there is more to this as this role is Samael. Here Michael holding the balances is based from Anubis holding the balances, and based on the Psychopomp role Anubis would be designated to guide the souls to the next world. So is Michael and Anubis one and the same?

Let's see what Blavatsky states in The Secret Doctrine: THE ORIGIN OF THE SATANIC MYTH.

[[Vol. 2, Page]] 385:

"...Samael or Satan, the seducing Serpent of Genesis, and one of the primeval angels who rebelled, is the name of the "Red Dragon." He is the Angel of Death, the Talmud saying that "the Angel of Death and Satan are the same," and, killed by Michael, he is once more killed by St. George, who also is a Dragon Slayer; but see the transformations of this. Samael is identical with the Simoom, the hot wind of the desert, or again with the Vedic demon of drought, as Vritra; "Simoom is called Atabutos" or-- Diabolos, the devil. Typhon, or the Dragon Apophis -- the Accuser in the "Book of the Dead" -- is worsted by Horus, who pierces his opponent's head with a spear; and Typhon is the all-destroying wind of the desert, the rebellious element that throws everything into confusion. As Set --he is the darkness of night, the murderer of Osiris, who is the light of day and the sun. Archaeology demonstrates that Horus is identical with Anubis, * whose effigy was discovered upon an Egyptian monument, with a cuirass and a spear, like Michael and St. George. Anubis is also represented as slaying a dragon, that has the head and tail of a serpent. (See Lenoir's "Du Dragon de Metz.")

Now, I am going to challenge this statement because based from Chapter "The Lord of Sirius" series, I detail how the devil is based on the Sirius symbolism connecting to the God of the underworld. What I do agree is that Osiris is Anubis, but is not the one who defeats Set but the other way around. The Dragon in most depictions of Satan would be a dog as well, hence even Sun Wukong and Thoth the Baboon version are considered "dog faced" who represents Satan. Osiris is shown to be the Lord of the underworld who gets cut up by Set, thus Set's role is Horus' role as the one who defeats the devil. This is why when deconstructing who is who, I find that the one who is praised as the hero who defeats Set is really the devil who is defeated. Should there be bias amongst these stories as Set is ousted and Osiris/Anubis is favored? I see the supposed evil God Set being Michael the Archangel who goes out to battle against the Dragon who is Osiris, to which gets cut up into pieces. When breaking down the Melek Taus situation it's shown that this Angel is linked to the Underworld as Samael who is Osiris. Here are strange references to the Bible on Rahab the Dragon.

Psalms 89:10: “Thou hast broken Rahab in pieces, as one that is slain; thou hast scattered thine enemies with thy strong arm.”

Isaiah 51:9 “Awake, awake, put on strength, O arm of the LORD; awake, as in the ancient days, in the generations of old. Art thou not it that hath cut Rahab, and wounded the dragon?”

Ezekiel 29:3 ¹In the tenth year, in the tenth month, in the twelfth day of the month, the word of the LORD came unto me, saying,²Son of man, set thy face against Pharaoh king of Egypt, and prophesy against him, and against all Egypt:³Speak, and say, Thus saith the Lord GOD; Behold, I am against thee, Pharaoh king of Egypt, the great dragon that lieth in the midst of his rivers, which hath said, My river is mine own, and I have made it for myself.⁴But I will put hooks in thy jaws, and I will cause the fish of thy rivers to stick unto thy scales, and I will bring thee up out of the midst of thy rivers, and all the fish of thy rivers shall stick unto thy scales.⁵And I will leave thee thrown into the wilderness, thee and all the fish of thy rivers: thou shalt fall upon the open fields; thou shalt not be brought together, nor gathered: I have given thee for meat to the beasts of the field and to the fowls of the heaven.

Satre or Satres an Etruscan god who appears on the Liver of Piacenza, a bronze model used for haruspicy. He occupies the dark and negative northwest region, and seems to be a "frightening and dangerous god who hurls his lightning from his abode deep in the earth."^[2]It is possible that Satre is also referred to with the word "satrs" in the Liber Linteus ("Linen Book," IX.3), the Etruscan text preserved in Ptolemaic Egypt as mummy wrappings.

Satre is usually identified with the Roman god Saturn, who in a description by Martianus Capella holds a position similar to that of Satre on the liver. The name Satre may be only an Etruscan translation of Saturnus,^[5]or Saturnus may derive from the Etruscan;^[6]it is also possible that the two deities are unrelated.^[7]No image in Etruscan art has been identified as Satre: "this deity remains a riddle."

Again, the God of the Underworld who hurls lightning from deep beneath the Earth, and is considered a frightening and dangerous God. He is known as Saturn which connects to Mithras Kronos, Xolotl, Bacchus and Shiva.

Now, there is a video with David Icke interviewing Zulu shaman Credo Mutwa, who gives more detail of the reptilians called the "Chitauri" that came to this planet with their leader, and this leader was described as having “three eyes”, and if looked upon they would die in an instant. He also states that the real god "Unkulukulu" came and fought the reptilians until they retreated underground. This was based on "The Reptilian Agenda" by David Icke on YouTube. The God with "three eyes" is described as Shiva and his third eye, who was said to kill a person when gazed upon. The fall of the "Red Dragon" is based on the God with "red hair" and "black skin" that is linked to Vritra, Typhon and Gong Gong the water deity. This would be linked to Samael as the "Saturn" or Kronos the fallen Angel. This will be shown as "Jann inb Jann" of the Jinn race that fought against Michael the Archangel.