I, Pet Goat II: The Return of the Cosmic Serpant?

The Transparent Unicorn – July 15, 2012

“I, Pet Goat II”, a recently issued short animation film which, under the guise of a story about “the fire at the heart of suffering”, takes “a critical look at the events of the past decade that have shaped our world”, has drawn a lot of attention as a highly esoterically charged work of art that is teeming with clues about the occult aspects of our reality and the hidden history of mankind. Indeed, the seven-minute animation, the first and so far only production of Canadian-based company Heliofant, is not only breathtaking in its artistic conception but also replete with unfamiliar symbols, so much that several viewings are required to appreciate its richness.
Not surprisingly, several bloggers and videobloggers took notice of this video and attempted with various degrees of success to convey their interpretation of the movie. Among others, the well-known website Vigilant Citizen has presented his analysis, which I recommend reading.
In this article, I wish to explore the occult dimensions of the movie and propose an interpretation of symbols which have been, in my view, neglected or left unexplained by others. For this reason, I will not attempt an exhaustive frame-by-frame exegesis; interested readers are referred to Vigilant’s article mentioned above and to the Youtube videos uploaded by “thebarcaroller”.
The title “I, Pet Goat II” refers to the story read by George W. Bush in a Florida school on the morning on 9/11. The choice of this particular story hints at the ritualistic aspects of the 9/11 terror attack, as documented here and here. The letters “I, Pet Goat II” themselves refer graphically to 9/11, with 9 characters in “I, Pet Goat”, followed by “II”. Furthermore, the title intimates that we are the true “pet goats”, the brainwashed prisoners of the matrix who are destined to become heroes.

Sun symbolism and Gnostic undertones in the “Lily” scene

A pivotal scene begins at 1:13, when the character Lily takes the spotlight. Lily sits in a golden circle accompanied by a dot of the same color, representing the Heliofant logo which is also seen on Obama’s left cheek (1:07). The circle (without the dot) is also visible on the cheeks of Lily and Juan “Pepito” (3:31).
As others have pointed out, the name “Heliofant” can be interpreted as meaning something akin to “he who makes the sun [Gr. helios] appear or shine [Gr. phant]”. The animation of the “Heliofant” logo in the credits, which shows the dot above the “I” moving towards the “O” and illuminating it, supports this interpretation (6:56). In Hindu tradition , we usually see the dot inside the circle. This symbol illustrates a kind of cosmic sexual union, with the circle representing the “Mother Earth” or feminine principle, whereas the dot or “bindu” depicts the sun or masculine principle. Thus, in the “Heliofant” logo, the dot moving towards the circle and illuminating it evokes the return of a cosmic force associated with the sun. The circle may also symbolize the cosmic serpent, or Ouroboros, eating his own tail, a theme which we will revisit later.
Lily realizes that the apple is not hers and drops it, leading to the apple splitting in two halves at Obama’s feet and blossoming into a lotus. This is a crucial passage which sets in motion the dramatic events depicted in the animation, a fact that is not lost on Obama. The lotus, a sacred flower in several ancient traditions, is a type of water lily that symbolizes resurrection or spiritual illumination. Moreover, the lotus was associated with the sun in Egyptian mythology because it bloomed by day and closed by night. The lotus was even believed to have given birth to the sun.
Originally, the lotus was the flower of Lilith, who is also identified with Ishtar or Astarte, the Sumero-Babylonian Goddess of creation. Although Judaism has given her an unenviable reputation, Lilith is associated with Sophia, the Great Mother, in Gnostic traditions. Lily’s decision to drop the apple, which represents the knowledge of the duality of Good and Evil (symbolized by the Masonic checkerboard), is therefore a transparent allusion to the episode that took place in the Garden of Eden, with unmistakable Gnostic undertones.
In Yogic and Tantric traditions, the lotus is associated with the fourth primary chakra or Anahata, which is located in the heart region. Interestingly, this chakra also represents the union of the male and female principles. Thus, Lily’s gesture, and the ensuing flowering of the lotus, alludes to the union of opposites (male/female, good/evil), a nondualist or monist perspective which is prevalent in Hinduism and in certain Gnostic strands.
In the video, the opening of the fourth chakra is symbolized not only by the lotus, but also by the fire emanating from the heart of the Christ-like figure (2:43). Similarly, the resurrection theme evoked by the lotus is reinforced by the imagery of the swallows fleeing the destroyed mosque (at 3:06), and by the scarab crawling on Aali’s face (3:21). Swallows represent resurrection and rebirth in the Christian tradition, but were also associated with the souls of the dead in Egyptian mythology, whereas “the scarab was the emissary of the sun, symbolizing light, truth, and regeneration”.

Spirals, vortices, and the mysterious Vril force

A feature that has been mostly overlooked by commentators is the recurrent spiral motif. Spirals and vortices are found in the eyes of the hypnotized goat (at 0:09), in the sky above the Statue of Liberty aka ”Lady of Helotry” (2:28), and in the shape of the clouds surrounding the nuclear mushroom (3:14). Most noticeably, perhaps, the “hand from the sky” that points toward the phallic-shaped tower appears in a vortex-like structure (4:34). These vortices and spirals, which are presented as one of the basic patterns of the cosmos in the enigmatic “spiritual guidebook” OAHSPE, are also prominent in the teachings of free energy proponents Viktor Schauberger and Walter Russell. Readers may also remember the mysterious spiral that appeared in the Norwegian skies as Obama received his Nobel Prize in 2009.
These vortices are all seen turning or opening in a counterclockwise fashion (the spiral above the Statue of Liberty is seen as closing in on itself through clockwise rotation, hinting at a prior counterclockwise opening). This peculiar detail is related to an obscure esoteric tradition. Although it is not entirely clear whether the swastika generally relates to this pattern, the counterclockwise Nazi swastika is definitely linked to the cult of the “Black Sun” and to the Vril, the secret force that is associated with the spiral pattern. It is worth mentioning that the splitting of the apple dropped by Lily (1:33) is another feature associated with the Vril : according to Willy Ley, author of Pseudoscience in Naziland, “the secret of the Vril could be found by contemplating the structure of an apple, sliced in halves”, a meditation practice promoted by anthroposophist Rudolf Steiner.
Not coincidentally, the young Sufi dervish dancer is also seen whirling counterclockwise (5:20), suggesting that the esoteric traditions of Islam share a belief in this secret force, a claim endorsed in part 44 of the series “The Arrivals”, a must-see segment which hints at a deep connection between the events of 9/11, the sun cycle, and the cosmic spiral/vortex.

Neither Christ nor Antichrist, but ancient solar deity

Debates have raged online as to the identity of the Christ-like character appearing in the animation. Some tend to see him as a representation of “Christ consciousness”, whereas others vehemently insist that he is the Antichrist. But both sides apparently fail to note certain incongruences. On the one hand, this Christ-like character is evidently an enemy of the Satanic hierarchy, as shown by his annihilation of the terracotta-like army of office workers and assorted bureaucrats (5:05), an episode which leads to the hurried flight of Illuminati sorcerer Drako. On the other hand, he attracts many followers who are ostensibly still trapped in the duality which dominated the age of Pisces (symbolized by the striped fishes jumping to their death on his boat), but he seems indifferent to their presence. He is obviously not the Messiah they expected: he belongs to a different era and to a different paradigm.
In fact, there are several clues suggesting that I, Pet Goat II illustrates the return of a very ancient solar deity. Besides the Heliofant logo itself and the allusions to the “Black Sun” cult mentioned above, the Christ-like character bears many similarities to the Egyptian god Horus (usually identified with the rising sun), such as traveling in a boat guided by the jackal-headed Anubis. In addition, he is only awoken from his trance-like state by the rays of the rising sun, and is later seen seemingly worshipping the Sun (6:45).  The allusions to sun worship and to ancient cosmic forces are instantly recognizable when comparing the cover page of Mark Pinkham’s well-known Gnostic synthesis “The Return of the Serpents of Wisdom” with an iconic image from I, Pet Goat II (4:07). Note the counterclockwise spiral motive, which originates from the fourth chakra region, corresponding to the “burning heart” of Christ/Horus.

Other elements in the video support this interpretation, such as the labyrinth with an obelisk in its center, evoking both the spiral vortex and the “dot in center” cosmic sexual union (5:28), and the DNA-like intertwined strands, representing fertility, standing under a six-petal rosette which is a symbol of spiritual awakening considered to be the Christian equivalent of the lotus (4:52).
The final sequence, in which the Pyramids are destroyed by the sun’s rays under the watchful eye of this Christ-like figure who himself bears a pyramid on his forehead (beginning at 6:30), apparently echoes the words of Aleister Crowley: “In the Aeon of Horus the dualistic approach to religion will be transcended through the abolition of the present notion of a God external to oneself. The two will be united. Man will no longer worship God as an external factor, as in Paganism, or as an internal state of consciousness, as in Christianity, but will realize his identity with God.”

Conclusion

All things considered, I, Pet Goat II does deliver a positive message: that of resurrection, rebirth, and spiritual awakening under a new paradigm. But it also foretells of destruction, death, and suffering for those who are still prisoners of Drako’s matrix in any of its guises: control of the governmental and political apparatus, economic and financial domination, organized religion, and above all the trap of dualism.
Although the video is laden with blatant Illuminati symbolism, it does not appear to promote an Illuminati agenda. On the contrary, it ruthlessly exposes Drako’s control over the human mind, portrays mighty presidents as mere puppets, and lays open the secrets of 9/11. However, it also seems to hold a very dim view of institutionalized religions, and its Gnostic and New Age undertones may be unappealing, to say the least, to many viewers. Nevertheless, it is worth noting that Gnostic beliefs are said to be diametrically opposed to those of the Illuminati, according to John Lamb Lash.
Christians, especially those wedded to the exoteric aspects of their religion, may experience enormous difficulties in relating to the message of this animation, as it portends drastic changes in their worldview. However, as much as some would prefer to ignore it, the disturbing message of I, Pet Goat II cannot be dismissed lightly, not only due to its artistic brilliance, but because its makers, or more likely those who commissioned the film, are without doubt occult masters in possession of a vast repository of secret knowledge of a highly sophisticated level, whose vision should be taken very seriously.

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