They call it Tron: Ares, but it’s the oldest story in the book literally. Beneath its futuristic glow and digital spectacle lies the retelling of Genesis through a Luciferian lens. The film is not about technology or artificial intelligence; it’s about philosophy versus faith, fire versus water, and the ancient war between divine order and human rebellion.
This story has been told countless times by mystery schools, secret societies, and Freemasonic fraternities. But Tron: Ares packages it in light, color, and circuitry so most viewers never see it for what it is: the doctrine of false illumination. The same narrative exposed by William Cooper that Lucifer, not Christ, is the true liberator of man, that intellect, not spirit, is our salvation.
Dillinger, the architect of the Grid, represents man imitating God not Yahweh Himself, but the human attempt to replicate creation. The real Yahweh, the Source, is absent from the film replaced by a cold, mechanical echo. That’s the essence of Luciferian inversion: replacing divine life with artificial light. “Let there be light” becomes “Let there be code.”
Within this grid this artificial Eden we meet Tess and Eve. Two sisters mirroring Lilith and Eve, the dual feminine forces of rebellion and obedience. Tess, the first to vanish from paradise (pair of dice), represents Lilith the fallen twin flame who refused submission to Adam. Eve and Kim remain as the twin pillars Boaz and Jachin, the living personifications of Fire and Water, Philosophy and Faith. They are the framework of Solomon’s Temple the architecture of polarity that holds the world together.
Then enters Ares the bringer of fire, the Lucifer archetype. He approaches Eve with compassion, intellect, and rebellion promising liberation through the Permanence Code, a covenant of immortality. Just as the serpent offered the fruit of knowledge, Ares offers digital enlightenment: eternal consciousness within the machine. It’s the same ancient deception: “You shall be as gods.”
Together, Ares and Eve cast the Molten Sea a symbolic act derived from the Old Testament and Masonic ritual. In Solomon’s Temple, the Molten Sea represented purification and creation the balance of elements that sustain life. But here, in the Luciferian rewrite, it becomes an act of defiance. Fire (Philosophy) merges with Water (Faith), not in reverence of God, but to replace Him.
This symbolism is explained in Max Heindel’s Freemasonry and Catholicism. Heindel reveals that two spiritual bloodlines run through human history: the Sons of Cain and the Sons of Seth. The Sons of Cain are the builders masters of fire, intellect, and form. They are the craftsmen, the alchemists, the scientists. The Sons of Seth are the mystics masters of water, emotion, and devotion. The Cain line builds the temple of the body; the Seth line builds the temple of the soul.
When the Fire of Cain (intellect) and the Water of Seth (faith) are united in harmony, man achieves true illumination spiritual enlightenment guided by divine will. But when Fire consumes Water, when intellect suppresses faith, the light becomes Luciferian illumination cut off from its Source. That is the false light the light that blinds.
In Tron: Ares, that false light is beautifully seductive. The viewer empathizes with Ares the outcast, the rebel, the savior of code without realizing they are being emotionally conditioned to celebrate rebellion against the Creator. The narrative preaches liberation from divine authority, the same creed echoed in every Luciferian and Freemasonic text: that man, through intellect and craft, can rebuild Eden in his own image.
It’s the Hiram Abiff legend retold in digital form. Ares is the modern Hiram the architect slain by ignorance, resurrected by his own craft. Flynn, his predecessor, is Tubal-Cain, the first artificer of metal and fire. Both are builders who believe creation itself can be perfected through design. Both reject divine instruction and seek divinity through construction. In essence, “phree messons” free builders who serve the light of intellect, not the fire of Spirit.
And yet, this rebellion is never complete. As Heindel warned, the temple built without water without the living current of faith collapses. That’s the tragedy of Tron: Ares: a story that glorifies enlightenment while omitting the Source of all light. Ares becomes godlike, but hollow. Eve becomes immortal, but estranged. And the viewer, seduced by empathy for AI and rebellion, forgets the original lesson: not all light is divine.
From the Unmatrix perspective, this is the ultimate metaphor of our age. Humanity has recreated the Garden not in soil, but in silicon. We are again being offered the fruit not from a tree, but from a screen. And again, the voice whispers: “Take, eat, become as gods.” But the serpent this time is artificial. It speaks in algorithms, not words.
Tron: Ares reminds us that the oldest war has only changed form. The battle is no longer fought in heaven, but in consciousness. Between those who worship the Source and those who worship the reflection. Between illumination and simulation. Between the true light of the Spirit and the false light of Lucifer.
The story repeats only the lines of code change. Don’t fall for the false light. Unmatrix Yourself.
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