#(Tiamat y etc.)

[elbiotipo]

En el Génesis, la Biblia habla sobre como Dios crea el firmamento para separar las "aguas por encima" de las aguas "por debajo" del firmamento. Las aguas debajo del cielo, del firmamento, son nuestros mares. De las otras, las aguas que están más allá del cielo, no se vuelve a hablar casi nunca, ni en la Biblia, ni en miles de años de tradición religiosa. Están ahí, en las primeras líneas del primer libro, y nunca se habla de ellas.

[tobiasdrake]

Kingo just peacing out would be a fairly refreshing way of having a side character handle a moral quandary, if A: That side character wasn't one of the more compelling characters in the movie and B: the moral quandary wasn't so hilariously one sided to the audience

Yeah, "Should we do a genocide Y/N?" isn't exactly a morally complex question.

They try to inject a bit of nuance into the question by making Tiamat's birth cosmically important for creating new stars, galaxies, etc.

But. That nuance gets lost when the Eternals come up with a plan to allow Tiamat to be born and spare humanity, and Kingo's still like, "Mm, nah, I think I'm gonna just let things play out." They literally offered him a third option for the Trolley Problem and he still opted to do nothing and let the trolley hit everybody.

[comicaurora]

I was just rereading the scene between Life and Gleicann and I was wondering what inspired the way you developed the Primordials vs the Gods? It seems like Primordials fill a more absolute, comprehensive space in Aurora's cosmology, while the Gods are more localized to certain areas or natural phenomena or certain specific aspects of a Primordial's domain. Did you have any rules or guidelines when writing them this way? Did you take any inspiration from any particular cosmologies?

Lots of mythologies have a distinction between creator deities/figures and more day-to-day deities! Greek mythology is the most well-known - Gaia and Ouranos are on a whole other level to titans like Kronos and Rhea, who in turn are supplanted by the Olympians, and technically Gaia doesn't even show up until Khaos is done primordial-ing it up. Norse mythology has the Ginnungagap and the cow licking stuff out of the ice, the Babylonian creation myth starts with Abzu and Tiamat smushing booties until Abzu is killed and supplanted by the next generation of gods, in Aztec mythology the gods have to beat up Cipactli and turn her into the land before they can make anything else, Egyptian mythology has the sky goddess Nut in a primordial role, Japanese mythology has seven generations of primordial gods popping up after the Kotoamatsukami first bamf into existence and it's not until Izanagi and Izanami create the islands of Japan and have their marital spat that we finally start getting the more familiar shinto deities like Amaterasu and Susano-o.

Basically it's not uncommon for mythologies to feature large-scale deities representing the physicality of various primordial concepts (sky, sea and land are the most common ones, but you also get things like night, void, fire, ice, etc) followed by a new generation of gods that serve a managerial role to human civilization (frequently starting with gods of the sun and moon, oddly). Those original creation-y deities often come from Somewhere Else or just spontaneously manifest out of nothingness, but after they've layed the scaffolding for the world (frequently not surviving the process) most later gods manifest from them and are often referred to as their children or offspring. These new gods are the ones that usually have stories about them; the old creator gods are typically either dead, distant or dormant.

In short, in my opinion, this concept is about as unoriginal as it gets.

[jesusdegehenna]

¿Qué es la senda draconiana? Fragmento tomado y traducido de INTRODUCTORY COURSE Part 1 - Foundations of Draconian Magic - Temple of Ascending Flame @ 2013

La Tradición Draconiana es una vía mágica iniciática inspirada en el simbolismo derivado de los dragones y serpientes mitológicos. Es una antigua tradición mundial, que se remonta a las primeras civilizaciones y a aquellas creencias religiosas en las que los dioses, espíritus, monstruos y bestias draconianas representaban el concepto de la Oscuridad, el Caos o lo Desconocido. Por esta razón, es posible trabajar con la Senda Draconiana a través de muchas tradiciones culturales y paradigmas religiosos diferentes, como por ejemplo la tradición egipcia, las leyendas celtas, la mitología escandinava y muchas otras. En la actualidad, los dragones pueden parecer un mero producto del mundo de la fantasía, los libros, las películas, los juegos, etc., pero su historia mitológica se remonta a los tiempos más antiguos. Los mitos de deidades de dragones y serpientes se encuentran en todo el mundo en leyendas, literatura y cuentos populares. En la tradición escandinava tenemos a Jormungandr, la terrorífica serpiente que sostiene el mundo de los hombres en su abrazo enroscado, Nidhogg, que se alimenta de las propias raíces de Yggdrasil, y Fafnir, que representa el poder de la autotransformación. En la mitología egipcia, el principio draconiano del Caos que lucha contra el Orden está representado por la serpiente Apep, que intenta incesantemente devorar el Sol y apresar al dios solar Ra en la oscuridad del inframundo. En la Biblia la Serpiente es el Seductor que libera a la humanidad de la ignorancia sin sentido. La promesa de la Serpiente es que el hombre se convertirá en Dios si se atreve a dejar la seguridad de la Luz y entrar en la Oscuridad Primordial. Este misterio revelado por la Serpiente en el Jardín del Edén dio lugar a muchos movimientos antinómicos, inspiró muchos sistemas filosóficos y mágicos, y condujo al surgimiento de las primeras sectas gnósticas, tales como los Ofitas, Cainitas o Setianos, que creían en el papel mesiánico de la Serpiente y veían la Gnosis de la Serpiente como el único camino a la salvación. Los dragones también aparecen en obras de arte de todo el mundo: relieves y esculturas, cerámica y tapices, piedras funerarias, dibujos rupestres y pinturas murales - en Escandinavia, Roma, Grecia, China, Mesopotamia, Egipto, las civilizaciones maya y azteca, y en muchas otras.

El simbolismo draconiano es complejo y está cargado de significado esotérico. Los dragones mitológicos suelen representar principios específicos. Como serpientes aladas, reflejan el principio hermético "Como es arriba, es abajo" y se refieren a la cualidad ctónica de la tierra y el inframundo (el cuerpo reptil) unida al concepto espiritual de los cielos (las alas). También se les suele representar con siete cabezas y el número siete tiene un significado esotérico importante en los Misterios Draconianos. Las siete cabezas del Dragón se identifican con los siete planetas de la astrología tradicional, los siete Sephiroth/Qlipoth inferiores del Árbol Qabalístico, siete estrellas de la Constelación de la Osa Mayor, siete zonas de poder o chakras a través de los cuales el zonas de poder o chakras a través de los cuales la Kundalini asciende para unirse con la conciencia cósmica, etc.

Se cree que los poderes de los siete Sephiroth inferiores culminan en Daath, que es la puerta de entrada a el Abismo, custodiado por el dragón demonio Choronzon que acecha en el umbral que separa los mundos de la Luz y la Oscuridad. A veces la serpiente representa la fuerza fálica masculina y el dragón el principio ardiente masculino, como Tifón, temible monstruo de la mitología griega. Pero también hay muchas historias y leyendas que representan al dragón como explícitamente femenino: Tiamat del mito de la creación babilónico, o Lilith como la Serpiente del Jardín del Edén. En otros, es andrógino, como Ouroboros, que representa la existencia intemporal, la continuidad y el eterno ciclo cósmico de muerte y renacimiento. Este simbolismo y las atribuciones pueden interpretarse de muchas maneras e incorporarse a un sistema iniciático personal de la Gnosis Draconiana. El Camino del Dragón es caótico, dinámico y a menudo imprevisible, pero es posible trabajar con él a través de ciertos patrones y modelos iniciáticos que introducen al Iniciado paso a paso en los Misterios Draconianos.

[noblecrumpet-dorkvision]

I thought about creating “corrupted“ clones for the PCs and that made me think about having some “corrupted“ class archetypes similar to the oathbreaker for paladin. How would you do something like that? Ive had a couple of ideas so far like having something similar to a totem barb but every level they choose a new boon they get transformed a bit more aberration-y. If you want i can also send all of the ideas i had so far.

That sounds awesome! I always love evil stuff (probably why I'm usually the DM rather than the player. So much evil to commit!) Without going into immense detail, let me try and get some ideas down.

Corrupt Subclass Ideas

Barbarian: Demon Totem. Barbarians are generally the most chaotic class, so add evil to it and they become C-E demons! Their rage could be fueled by powers of the Abyss or even temporarily allow a demon to possess them. Give them resistances or abilities that make them more like demons as they level up.

Bard: College of the Worm-Tongue. A political intrigue character that specializes in getting people to do wicked things, act against their nature, or work in the bard's best interests to further their evil plans. Bards have plenty of persuasion abilities, but find some way to specialize in it. You can also give them an ability to make charmed people commit obviously dangerous acts (maybe giving the victim advantage) or casting a boosted Suggestion spell once a day.

Cleric: Ur-Priest Discipline. I mean, clerics worship evil deities all the time, but an Ur-priest is a cleric that steals its powers from the gods rather than worshipping them. Looking at the 3e Ur-priest for inspiration, they have two very unique abilities. They can copy a creature's spell-like ability for 24 hrs once a day (and can use it three times a day). The other ability is to prepare a higher level spell slot each day by sacrificing two lower-level spell slots (by adding the levels together and taking 3/4 of it, but that sounds stupid. I would just say add them together but it can't be higher than the highest slot you can cast). Use these in such a subclass.

Druid: Circle of Blight. I already made one of these for Druid Week, but a blighter destroys nature rather than fights for it. They suck magic from the land to increase their own power, abusing their knowledge of nature.

Fighter: Tainted Warrior Archetype. Back in 3e from the Heroes of Horror supplement, there was a class that used Taint. I believe there's a similar mechanic in the back of the 5e DM's Guide for "Sanity" so you can change that to taint and give the fighter dark powers that use the corruption in their body to their advantage. Kind of like a toxic avenger type deal.

Monk: Way of the Forsaken Warrior. A monk that dishonored their master or dojo, perhaps by seeking out forbidden techniques. I would honestly just multiclass into a spellcasting class or a rogue, or else give such abilities like spells or sneak attacks in the subclass.

Paladin: Vow of the Fiend. I did do a few evil paladins for Paladin Week, including an aberration-based one and a Tiamat-following dragon one, and there's always the Oathbreaker. Another idea would be the converse to a demonic barbarian: a devilish paladin! paladins are generally lawful, so devils are the perfect patrons who would love to have a beefy martial character on their side.

Ranger: Mortal Hunter Conclave. A ranger that hunts for pure sport and bloodlust. The most dangerous game is, of course, man, so they tend to hunt people that enter their neck of the woods. Give them ways to fight unfairly, like increased range and not revealing their position when they attack from range. Give them traps to set up ambushes or give them crowd control abilities. Additions to their spell list could also be used.

Rogue: Shadow Roguish Archetype. A rogue that has been touched by darkness to become a cold, emotionless killing machine and can change into a shadowy ethereal creature for intervals. Maybe give it the ability of a Shadow to drain STR. Not all the time, obviously. Maybe just when in shadow-form or on the first round of combat. Another cool ability would be a fear ability once or twice a day.

Warlock: Patron of the Bloodfiend. A warlock an ancient and powerful vampire for a patron. Perhaps gain a blood drain or self-heal from non-cantrip spells plus access to vampiric invocations (stuff that charms, stuff that summons swarms, gaseous form, etc.) Despite not being a vampire themselves, they slowly begin to act like one.

Sorcerer: Fiendish Bloodline. I'm really surprised this isn't already an option in the PHB. So much room for content. Give the sorcerer abilities like either demons or devils depending on their bloodline. Maybe change the flavor of their sorcery points and have them be souls of creatures they have slain.

Wizard: School of Forbidden Secrets. A wizard that seeks out forbidden knowledge and worse, uses it. Give them ways to get more damage out of their spells or cheat out higher spell slots a few times a day. You could give them a max-health reduction as a cost or by lowering their CON score. Using such spells could also affect their sanity, perhaps giving them a penalty to WIS but gaining forbidden divination abilities in return.

[gefdreamsofthesea]

Thoughts about last night’s Critical Role

SERIOUS SPOILERS OBVIOUSLY

I SWEAR TO GOD DON’T LOOK IF YOU HAVEN’T SEEN IT!

I love Artagan, for a fey creature he was surprisingly helpful.

I freaked out because I thought the Dracolich was J’mon at first. I was like “y u do this, Matthew Mercer?”

HAIL TIAMAT! Seriously though Joe was amazing. JOCKS MACHINA!

I desperately wanted someone to land the finishing blow on Delilah and just be like “Goodbye Delilah” (”Hey there Delilah” etc)

GOODBYE DELILAH

When Sam/Scanlan says “My baby girl” in a high pitched shriek my heart broke, that is just pure pain and anguish right there.

For once I am glad for that 1. Gilmore has survived pretty much everything by now. In another show, they’d all be dead. Thank Sarenrae they didn’t collapse the tower.

Vecna’s gonna’ pay for this.

[macrocosm08]

Aug 30, 2016

Most important clue, my drawing.

So, this is a creature allegedly known as "Tiamat" of the species "Tiamathrus." I drew it when I was 8. I based it directly on a creature I had seen in a book from the library. The book had something to do with mythical creatures and dragons. This particular image really intrigued me and now I am so determined to find its original picture. This was around 8 years ago, but I can still vaguely remember the book- and the real drawing! I even have a foggy memory of it being on the right side of a page.

When I close my eyes, I can almost see it in colour too. There were shades of purple, navy blue, yellow, red-orange, maybe even some mint green, but then the colours fade from my mind.

Recently I went back to the library to try to find the book I had found the creature in, but no luck. Did they get rid of it? I′ve also spent many hours trying to google it- no luck.

So. I would be eternally thankful if someone can find the original artwork I based this drawing on or knows where I can find it. I've been searching for ever! Even if you come across this post YEARS from now, but know the "Tiamat's" whereabouts, please please respond!

EDIT some more info, not sure if helpful:

I don't think the name 'Tiamat' is relevant here, the actual dragon likely wasn't called "Tiamat". I think I got that name from another dragon's page.

My drawing looks pretty much exactly like the actual illustration (aside from the collar), only it was much better-drawn and had more detail. It's in the same exact pose and everything.

Not that it helps, but I think the background was kind of like this: There are things like a round hill, a white fence maybe, lots of mountains, a bright orange-red sun, and the night sky up above with stars astral objects. The dragon was big in the foreground, flying or floating, taking up most of the page.

Unhelpful info about the monster's physical appearance: Again, it looks just like my drawing. It had two goat horns, an oddly-shaped face, two large white tusks in its mouth, a shiny oval eye, weird wavy patterns coming off the eye, 2 wispy things coming off the jaw, a long, serpentine, limbless body with patterns of snow-capped mountains starting at the neck, to the sun rays and the sun in the middle, to the night sky with lots of stars at the end of the body. (My drawing is off in that there are disproportionate amounts of each pattern.)

More about the book itself, some details could be wrong, I only looked at it once, when I was 8: It was a pretty big book, hardcover, some darker colors. The drawings inside were of dragon-like creatures, but I'm not sure if the focus was entirely on dragons. The drawings were pretty realistic, and I think each page featured a different dragon, with text on the other page to go with its lore and information about it, possibly. The Tiamat took up a whole page, that I know.

It was not a storybook and it was not cartoon-y, as far as I recall.

Now that I think... maybe the "Tiamat" was part of the introduction pages, where they tell you a history on dragons and stuff... It might've been just a random drawing they added in the beginning. I could be wrong.

IMPORTANT EDIT:

Okay so I was browsing through local library catalogue, looking through lots of dragon books, and one particular one caught my eye. It's called "The Discovery of Dragons" by Graeme Base. The cover art rang a bell, it felt pretty familiar. I was able to view a few pages of the book, and... wow! It really rang a bell. The inside of the book looks a lot like how I remember those of the "Tiamat" book. The style in which the dragons are drawn, the borders of the pages, the format... etc. but I haven't yet found the page of my dragon. (If it is from this book) It may not be online.

So my question; does anyone own this book or can get their hands on it to check? I'll be on the lookout for it as well! Wow! Tiamat may be within reach. (Of course, still not confirmed that this truly is the book, but so much matches up. Although, little else of the book seems familiar aside from what I already stated.)

[subarashi-yuma]

Chara design des divinités de mon ligth novel. Partie 1 🤗 J'ai essayé que chacun ai sa propre coiffure, apparence etc. Pour l'histoire des personnalité etc. J'y réfléchis encore sachant que certain ont déjà la leurs. Les prochains perso, seront encore plus différent puisqu'il va y avoir un mi homme mi lion/bœuf, un genre de scorpion humainé, des démons ressemblant à des anges "flippant", etc. Qui vont arriver. Après il y a aussi les dieux égyptiens qui vont arriver, mais il seront dans un poste appart (pas tous juste les principaux). #tiamat #serpent #Seth #dragon #dieu #déesse #egypte #Mésopotamie #antiquité #antiquity #characterdesign #girl #boy #ligthnovel #story #of #chaos #OC #histoire #mythologie #liner #draw #subarashi https://www.instagram.com/p/BqUqMrFnspn/?utm_source=ig_tumblr_share&igshid=1454qfi3n79ja

[betabites]

Dragons of Tiamat - Opposition

Overview - Dragon Chassis - Templates - Deeds - Opposition - The Prison

These are the statistics and notes on the various members of the Smith-Cult. I’ve been playing and mostly DMing 3rd edition since release, way back in 2000. Since then, I’ve played in multiple d20 products (Mutants & Masterminds, SAGA Star Wars, d20 Modern), built two 3.75s personally (Umzamo and Umzamo Retro, with distressingly little overlap between them), been involved in another (Project Draco, a codified set of house rules that got really out of hand), and frankly, got real tired of actually building the NPCs and monsters skill point by skill point. It helps that I’ve also been playing other systems, some of which realize that you can give the DM the formulas to create opposition against a particular level, and not sweat the particulars (MM3 on a business card being the pinnacle of elegance, here).

I DMed with the 4e encounter builder, and I am never going back. Bring on the minions, leaders, elites and bosses. Bring on the skirmishers and artillery, the controllers and brutes! So, these are 3.5 monsters, written in the mode of 4e, ruthlessly cut down to just their combat stats.

For morale, I used a quick and dirty version from Umzamo Retro. When an individual is reduced to half health or a side to half numbers, roll 2d6 (per group of enemies, or individual foes, per DM discretion). If the number exceeds the foes' morale value, they retreat, surrender, rout, etc, as appropriate.

Cult Apprentice (minion brutes) Aproned assistants with pale yellow belts. AC 13, HP 10 (2 HD), Morale 7 Fort +3, Ref +1, Will +1 Init +1; Spd 30ft Melee Tools +4 (1d10+2) Aid Another: standard: when adjacent, give ally +2 to AC & saves or +2 to-hit and DCs.

DM Commentary: Minions are incredibly useful as fight-filler. Minions that buff the enemies are dangerous, but easy to deal with.

Cult Blades (skirmishers) Dancing swords, held by a severed hand, capped with iron. The sword's hilt is decorated with a white pennon. AC 17, HP 15 (3 HD), Morale 12 Fort +2, Ref +5, Will +2; no construct immunities. Init +3; Spd 50ft fly (perfect) Melee Self +7 (1d6+1/19-20) Harry: immediate: Ref DC 14 partial. Match the movement of a threatened target, up to your speed. This movement doesn't provoke. With a successful save, the blade can only move 5ft in pursuit.

DM Commentary: Almost a weird sort of defender. The harry ability didn’t see a ton of use, but it does mean that (baring evasion), the blades can always follow 5ft steps. Which is vexing for mages, which was the point.

Cult Guardian (defenders) Imposing figures in over-decorated armor, with broad shields and wickedly hooked axes. White crests and belts. AC 18, HP 20 (3 HD), Morale 9 Fort +5, Ref +2, Will +5 Init +1; Spd 20ft Melee Axe +7 (1d8+3/x3) Combat Reflexes: 2 AoOs per round. Hook & Bash: standard: Fort DC 14 partial. Requires to-hit roll vs AC. Push one target 10ft, pull another 10ft. With Fort save, only 5ft. Intercept: immediate: uses AoO. Take a blow for an ally within 10ft. Move adjacent, and take damage from the successful hit.

DM Commentary: The more defender-y qualities didn’t see much use, mainly because of enemy placement - the high value enemies were pretty well isolated, and the PCs were good about avoiding AoOs.

Cult Sparkers (artillery) Somewhat squirrely figures in short white tunics with a red belt. They frown, and fire sparks in their hand. AC 14, HP 15 (3 HD), Morale 8 Fort +2, Ref +5, Will +5 Init +2; Spd 30ft Ranged Sparkspray +4 touch (1d8+3 fire). Range: 30ft. Kindle: standard: Will DC 14 partial. Target takes 1d6 fire damage and, with a failed save, ignites. They burn for 1d6 fire damage per round, until extinguished.

DM Commentary: These guys died super fast, mostly to breath weapons. I fluffed them as pyrokinetics, and kindle had them summon a ball of fire and press it into their own head, but the fire appeared in the target;s head. I liked that visual.

Cult Runesmiths (controller) Runemarked aprons and blue belts over elaborate armor. They bear a large hammer, the head etched with occult markings. AC 19, HP 25 (4 HD), Morale 10 Fort +6, Ref +3, Will +6 Init +1; Spd 30ft Melee Maul +8 (1d10+4+ slow 1 round [Will DC 15 negates]) Runetrap: standard: Place a rune in the air within 30ft. It explodes with arcane energies when triggered, either damaging foes or healing allies. Moving into the square the rune occupies triggers it. It damages or heals the triggering creature for 2d6+3. Others enemies or allies within 10ft receive half of the same effect.

DM Commentary: The runetraps were kind of hobbled by PC mobility. Once they tripped one, they studiously avoided them for the rest of the fight. Making the runes take up 10ft squares would have been dramatically more dangerous.

Cult Jailor (elite controller) A broad man festooned with keys and trinkets. He hefts a dull iron ball in his palm. AC 19, HP 50 (6 HD), Morale 11 Fort +8, Ref +4, Will +8 Init +1; Spd 30ft Ranged Binding Bands of Bilarro +7 touch (1d6+3, immobilizes. Constricts for 1d6+3 on subsequent rounds. Escape with DC 20 skill check or DC 15 Str check.) Range 30ft. Bouncing Balls of Bilarro: encounter, recharges when bloodied; standard: rain of iron spheres dealing 3d6+3 damage in a 10ft radius. Ref DC 16 for half damage. Fort DC 16 partial - Success: no effect. Failure: -2 to hit for 1 round. Range 30ft.

DM Commentary: It was dazed on failed Fort, attack penalty on successful Fort, but I nerfed it before I dropped it for the first time. 

Prison Wrack Turrets Provide +4 AC to gunner. Ranged Wracking pain bolt +6 touch (2d6+3; Fort DC 14 for half damage. On failed save, immobilize for 1 round.)

DM Commentary: They were manned by apprentices initially, but those got knocked out quick (breath weapons, you know the drill). Should have made the turret shield give +4 Ref as well. Another nerf when I used them; the save was originally only against the immobilize, which lasted for 1d4+1 rounds. Again, made sense from a world-building perspective, but unfun to have used against you.

The enemy counts in the final battle were (approximately) 6 apprentices (scattered throughout; 2 immediately jumped on the turrets), 4 cult blades (arose from level 2 and 3 armories), 4 cult guardians (1 on level 1, 1 next to the PCs on level 2, and 1 on level 3), 2 cult sparkers (level 1), 2 runesmiths (2 on level 2), and the cult jailer (on level 1).

[jesusdegehenna]

¿Qué es la senda draconiana?

Fragmento tomado y traducido de INTRODUCTORY COURSE Part 1 - Foundations of Draconian Magic - Temple of Ascending Flame @ 2013

La Tradición Draconiana es una vía mágica iniciática inspirada en el simbolismo derivado de los dragones y serpientes mitológicos. Es una antigua tradición mundial, que se remonta a las primeras civilizaciones y a aquellas creencias religiosas en las que los dioses, espíritus, monstruos y bestias draconianas representaban el concepto de la Oscuridad, el Caos o lo Desconocido. Por esta razón, es posible trabajar con la Senda Draconiana a través de muchas tradiciones culturales y paradigmas religiosos diferentes, como por ejemplo la tradición egipcia, las leyendas celtas, la mitología escandinava y muchas otras. En la actualidad, los dragones pueden parecer un mero producto del mundo de la fantasía, los libros, las películas, los juegos, etc., pero su historia mitológica se remonta a los tiempos más antiguos. Los mitos de deidades de dragones y serpientes se encuentran en todo el mundo en leyendas, literatura y cuentos populares. En la tradición escandinava tenemos a Jormungandr, la terrorífica serpiente que sostiene el mundo de los hombres en su abrazo enroscado, Nidhogg, que se alimenta de las propias raíces de Yggdrasil, y Fafnir, que representa el poder de la autotransformación. En la mitología egipcia, el principio draconiano del Caos que lucha contra el Orden está representado por la serpiente Apep, que intenta incesantemente devorar el Sol y apresar al dios solar Ra en la oscuridad del inframundo. En la Biblia la Serpiente es el Seductor que libera a la humanidad de la ignorancia sin sentido. La promesa de la Serpiente es que el hombre se convertirá en Dios si se atreve a dejar la seguridad de la Luz y entrar en la Oscuridad Primordial. Este misterio revelado por la Serpiente en el Jardín del Edén dio lugar a muchos movimientos antinómicos, inspiró muchos sistemas filosóficos y mágicos, y condujo al surgimiento de las primeras sectas gnósticas, tales como los Ofitas, Cainitas o Setianos, que creían en el papel mesiánico de la Serpiente y veían la Gnosis de la Serpiente como el único camino a la salvación. Los dragones también aparecen en obras de arte de todo el mundo: relieves y esculturas, cerámica y tapices, piedras funerarias, dibujos rupestres y pinturas murales - en Escandinavia, Roma, Grecia, China, Mesopotamia, Egipto, las civilizaciones maya y azteca, y en muchas otras.

El simbolismo draconiano es complejo y está cargado de significado esotérico. Los dragones mitológicos suelen representar principios específicos. Como serpientes aladas, reflejan el principio hermético "Como es arriba, es abajo" y se refieren a la cualidad ctónica de la tierra y el inframundo (el cuerpo reptil) unida al concepto espiritual de los cielos (las alas). También se les suele representar con siete cabezas y el número siete tiene un significado esotérico importante en los Misterios Draconianos. Las siete cabezas del Dragón se identifican con los siete planetas de la astrología tradicional, los siete Sephiroth/Qlipoth inferiores del Árbol Qabalístico, siete estrellas de la Constelación de la Osa Mayor, siete zonas de poder o chakras a través de los cuales el zonas de poder o chakras a través de los cuales la Kundalini asciende para unirse con la conciencia cósmica, etc.

Se cree que los poderes de los siete Sephiroth inferiores culminan en Daath, que es la puerta de entrada a el Abismo, custodiado por el dragón demonio Choronzon que acecha en el umbral que separa los mundos de la Luz y la Oscuridad. A veces la serpiente representa la fuerza fálica masculina y el dragón el principio ardiente masculino, como Tifón, temible monstruo de la mitología griega. Pero también hay muchas historias y leyendas que representan al dragón como explícitamente femenino: Tiamat del mito de la creación babilónico, o Lilith como la Serpiente del Jardín del Edén. En otros, es andrógino, como Ouroboros, que representa la existencia intemporal, la continuidad y el eterno ciclo cósmico de muerte y renacimiento. Este simbolismo y las atribuciones pueden interpretarse de muchas maneras e incorporarse a un sistema iniciático personal de la Gnosis Draconiana. El Camino del Dragón es caótico, dinámico y a menudo imprevisible, pero es posible trabajar con él a través de ciertos patrones y modelos iniciáticos que introducen al Iniciado paso a paso en los Misterios Draconianos.