On the images above I am showing, that all of the depictions of Enki-Ea represent an amphibian entity which has gills on its head, no matter what type or age/era the sculpture is. 

And here are two artistic versions which visually correspond with what I just described:

This is the equation which goes back to Enki:

EA=Annunaki=Enki=Enoch=Oannes=Nommo(s)=Dagon=Poseidon (-Nereus)=Vishnu (=Fish-nu)=Narayana=Apam Napat=Quinotaur=Upulvan=Haroeris-Horus the elder=Ægir=Skanda=Mur(u)gan=Kartikeya=Kataragama deviyo=Durga(i)=Surya=Vivanhant=Varuna=Ormuzd=Naga Kanya=Manco Capac=Kukulkan=Lucifer-the-Light-bringer (=Hermes=Phanes)

Some of these demigods represent only aspects of Enki, some are very much the same entity. Vishnu is blue entity because blue color represents water-planet/system.

Enki (Ea) stands in his “watery home” the Apsu / Abzu (=house of the cosmic waters)

The Nommos are a race of Beings that takes the physical forms of dolphins, whales, mermaids/mermen.  Their home world is a planet in the Sirius star system that is mostly warm aqua-blue water. Many of the Nommos walk upright.  They are known for their highly advanced used of sound.  I have had a personal experience with these beings when they took me to their planet during the dream state.  I remember the feel of the warm aqua-blue water and how I marveled over the fact that I could breathe in it.  Then I remember being placed on a table and feeling the sensations as they “sang” something into my blood.  Then they “sang” me home and back into my body.  I woke up with the most peaceful and euphoric feeling. The Nommos play an important role in earth’s evolution.  Right now they are the guardians and guides of the portion of Etheric Sirians who are in dolphin, whale, and mermaid/merman bodies in order to maintain the biosphere of earth. The Etheric Sirians are the soul group that were given earth as their new home when their former home, Sirius B, imploded. When Earth ascends the Etheric Sirians will take over as guardians of their planet… (

The Homo-Sapien species was bred in the wombs of alien females, between 300,000 and 500,000 years ago, in Sumeria. An alien by the name of Ea directed the creation of Homo Sapiens as a genetic hybrid in ancient Mesopotamia. Ea was also known as the Prince of Earth and managed operations on Earth for the council of aliens. During this time, marshes by the Persian Gulf were drained and dams and dikes were constructed. Ea was dedicated to the dissemination of spiritual knowledge to the newly created human hybrids. But, there was a desire by other alien groups to promote human bondage. Despite his good intentions, Ea failed to maintain the freedom of the human species. His faction, known as the Brotherhood of the Snake, was defeated by other alien factions. Ea was banished from Earth and his title was changed to the Prince of Darkness. He was portrayed to the humans as the “enemy of a Supreme Being” and told that all their troubles were the fault of Ea. Under negative alien influence, known as the Jehovah, the Brotherhood of the Snake was changed from a force disseminating scientific and spiritual knowledge to one that became known for spiritual repression and betrayal. src:

Pictures below are the artwork of Jesse Thompson:

…something like that…but with this type of head:

This shell from the 11th century, which was probably used to hold and pour sacred water during religious ceremonies, depicts the god Vishnu who is known for using a conch shell as a war trumpet.

Ritual Water Vessel, c. 11th century or earlier, Artist/maker unknown, Bengali or Orissan


Ritual Water Vessel Conch shell
c. 11th century or earlier. Bengali or Orissan

The god Vishnu uses a conch shell as a war trumpet and it is one of his identifying attributes. Within the rondel on this shell Vishnu is represented in his martial role as protector of the universe. He flies through the sky on his mount, the bird-man Garuda, holding his weapons—the shell-trumpet, the mace, and the discus.
(via Philadelphia Museum of Art)

Krishna in Cosmic Form. Nathdwara, India. 1700s. 

Krishna is depicted here in his cosmic form as Vishnu, centering the Universe with his serpent Sheshnaga beneath. The Pandava and Kaurava armies gather on each side of his feet. The seven oceans of the earth encircle his body and at their center is Krishna dancing in his rasalila or cosmic cycle of ecstacy. Brahma sits within the crown on his head while Shiva pays obeisance from his abode in Mount Kailasa on the upper right. Above, Krishna is seen dancing the divine rasalila in his heavenly abode as the four Vedas, the fountain of all knowledge stand respectfuly on either side. Opaque watercolor heightened with gold on paper. 



Why mess with a good thing? So many demons hew closely to their sources with the addition of the usual Kaneko embellishments, but there are also a significant number that don’t deviate greatly or at all–often because a particular depiction is such an iconic representation or complete summation of their role or character due to it being shaped over centuries or millennia. That said, this collection of figures from the greater Indian mythosphere is but a sampling of the many in SMT that would fit this design description.

  1. KRISHNA: The art may be called “Vishnu” but this design from SMT1 screams “Krishna” loud and clear. (So it would be renamed when it was reused a few years later in Shin Megami Tensei: If…) While it doesn’t share Krishna’s usual blue skin tone, the flutist’s pose is definitive.
  2. ARDHANARI: This bronze statue of Ardhanari, the composite Shiva and Parvati androgyne, is highly likely to be the source of the design seen in SMT2 as the pose and wardrobe are mirrored down to the smallest contours; however, the god is almost always depicted with the illustrated details like the single breast and partial sari of Parvati and Shiva’s tiger skin.

    Special thanks to greed92 who submitted this particular crib many months ago; it actually sparked quite a debate on how we should handle demons with popular common depictions, leading to the format you see here.
  3. SARASVATI: Sarasvati and her instrument, the veena, are inseparable from one another in iconography, and rightly so. Kaneko’s design is particularly noteworthy for combining elements of the traditional Hindu depiction with those of her Japanese equivalent, Benzaiten, namely the flowing white cloth, also present in her Nocturne redesign.
  4. KAMA: Seen here in the usual pose, seated upon his trusty parrot mount, bow at the ready. Some pants were lost in the process (a likely nod to his lustful aspect), but luckily a tasteful lotus is there to make up the difference. It’s also worth noting that the arrows in Kaneko’s design are accurate to descriptions of Kama having five different “flowery” arrows, all with different effects relating to love.
  5. ANANTA: Though normally pictured providing a bed for his master Visnhu, Ananta has his share of solo iconography. But a thousand heads is a tall order to fill, so many depictions stick with five or seven, as is the case here.