Is Our Reality Just a Videogame?

Videogames have always been man's best effort to exhibit real life visually.  The first video games were called side-scrollers, overhead or side views which provided a two-dimensional reality.  While a rough sketch, it was affective.  This style remained a standard format for decades, and is still used today.  Games advertised as three-dimensional arose later, and provided users with lifelike environments, seemingly no different from our own.  Recently, however, immersive virtual reality contraptions have shown us that we were actually wrong, our expectations were too low, and life can be estimated visually in an even more accurate way.  To achieve this feat, we needed to move our attention from a flat screen to a curved lens.  In changing this perspective, we obtained the ability to experience visually another dimension, beyond what we thought already represented reality succinctly.  After such gains during the earliest period of computerized technology, the discovery of a further step seems inevitable.  Somehow, we will gain another dimension, and our ability to fake reality will jump a level.

Most avid videogame players know that if you play a game for a long time, you'll probably have some dreams that night which involve the game you had been playing earlier.  Decades ago, those dreams includes crude lines, pixels, dots and shapes, scored by beeps.  Later, they became colorful, bright, and vibrant, accompanied by synthesized, futuristic sounding music.  Most recently, they have been cartoonish approximations of reality, seamless, not a clue to tarnish verisimilitude.  Now and into the future, our videogame dreams will be truly three-dimensional, a totally enhanced scape compared to that which is affected by a flat screen.  As a matter of course, our shared reality is affected by the dreams each of us has.  The evolution of videogames into convincing virtual reality represents a fundamental alteration to how each of us perceives our world.  The development of an additional dimension to our dreams will add a imperceivable dimension to our waking lives.

As we move throughout our lives, filling our minds with learning, our eyes see in expanded dimensions.  Thoughts and emotions impart upon us a larger world view, altering the way which we interpret the size and scope of reality.  The world of the individual possessing an unstimulated, uncultivated mind is narrow and close, its dimensions flattened.  Like constructing a box, knowledge, truth and wisdom open our perception to a universe of an even grander scale.  In a fantasy, the dimensions of our perception encompass all of existence, so that we see the world exactly as it is, or how we think it is.  Reality is the enemy.  It reminds us that our universal perception is constrained to less than total.  The bigot, for example, will not accept reality, dimensions of perception outside of his own, because he lives in his own fantasy, in which his world perception is complete.  As the dimensions of our perception decrease in size, the amount of understanding required to propel oneself into a fantasy remains small.  Blissfully ignorant individuals avoid learning because it expands their world view, mitigating their fantasy and destroying their dream world.  The larger one's dimensions of perception, the less one is impressed by fantastical games.  Some try to avoid that route, electing to remain easily awed by the silliest displays.  Even something as simple as a videogame can satisfy a person's thirst for stimulation, sending their life from reality into fantasy.

When dimensional expansion occurs, it compares to the shape of Earth transforming from a perfect sphere to a elongated ellipsoid.  Understanding 
the predominance of the "Rule of 3" may guide you on a path of awareness, opening your mind's perspective to a larger world.  This code has been secretly utilized in the entertainment industries for decades.  Because no one's been aware of it, it has effectively lowered the population's dimensions of perception, thereby limiting the amount of knowledge they require to achieve a dream-life.  A simple letter-number cipher, it revolves around the preponderance of "3" letters, those which contain a multiple of 3 according to their place in the alphabet.  This group is paired with Catalyzer group, with includes A (1), B (2), J, (10), K (11) and T (20).  A large portion of the century's favorite videogames were titled specifically to fit this form: 

Black And White - B.A.W. = 2-1-23
Castle Wolfenstein - C.W. = 2-23
Counter Strike - C.S. = 13-19
F-Zero - F.Z. = 6-26
Far Cry  - F.C. = 6-3
Final Fantasy - F.F. = 6-6
Mario Party - M.P. = 13-16
Max Payne - M.P. = 13-16
Metroid Prime - M.P. = 13-16
Metroid Fusion - M.F. = 13-6
Mine Craft - M.C. = 13-3
Monkey Island - M.I. = 13-9
Mortal Kombat - M.K. = 13-11
Pac Man - P.M. = 16-13
Pajama Sam - P.S. = 16-19
Paper Mario - P.M. -16-13
Pokemon Snap - P.S. = 16-19
Pokemon Stadium - P.S. = 16-19
Pokemon Sun And Moon - P.S.A.M. = 16-19-1-13
Sim City - S.C. = 19-3
Soul Caliber - S.C. = 19-3
Space Invaders - S.I. = 19-9
Star Fox - S.F. = 19-6
Street Fighter - S.F. = 19-6
Super Mario Kart  - S.M.K. = 19-13-11
Super Mario Bros. - S.M.K. = 19-13-2
Super Mario World - S.M.W. = 19-13-23
Super Metroid - S.M. = 19-13
Super Smash Bros. - S.S.B. = 19-19-2
Super Smash Bros. Melee - S.S.B.M. = 19-19-2-13
Syphon Filter - S.F. = 19-6
Twisted Metal - T.W. = 20-23
Wii Sports - W.S. = 23-19
Wing Commander - W.C. = 23-3
Where In The World Is Carmen Sandiego? - W.I.T.W.I.C.S. = 23-9-20-23-9-3-19
Words With Friends - W.W.F. = 23-23-6

This code, like universal knowledge, is endlessly scalable, developing from a simple mathematical principal.  The writers of this code see it as a beautiful representation of galactic existence, a metaphor for life and living.  All arithmetical interactions hint at a larger cosmic relationship, like the dichotomy between the symbolism of the various colors or shapes.  Every letter and its corresponding number has an innate, undefinable yet established personality, which the code wields handily like its weapon of choice.

What Do Cars Teach Us About the Mind?

A good rule for drivers is that people shouldn't be able to identify your personality type simply by viewing your behavior behind the wheel.  The person who is frustrated, impatient, and needlessly hurried, for instance, tailgates and passes too close to your vehicle, speeding.  The oblivious ignoramus might camp out in the passing lane, or move between lanes without signaling, seemingly without a bit of respect for the potentially lethal weapon which they wield around so many other lives.  The egocentric breaks the law, and swerves across lane lines, distracted by their phone screen.  The dreamer is disconnected from reality, and crashes their car, subconsciously purposefully, seeing their life as some kind of videogame fantasy.  Protected by metal, fiberglass, and tinted, glaring windows, the reasonable driver instead becomes anonymous, each moving in the same way, safely and logically, like the healthy blood cells which flow through our veins, or the neurons firing within our brain.

Somehow, the act of driving, even the shortest distance, is a type of accomplishment, like world traveling on a smaller scale.  A man is at his home, bored, with nothing to do, wanting fulfillment, so he decides to go for a drive.  The blood or brain cell which is stationary serves no purpose except storage.  Roads have become the functioning arteries, or neural pathways, of the planet, designed by man himself, replacing the natural rivers provided for us which became insufficient for our world organism to continue growing.  The cohesive Feng shui of the road system is constantly reaffirmed by the movement of our vehicles, our creating wind gusts the same velocity as ourselves.  Simply by entering the roadways, one becomes party to that energy, a passenger contributing to the living world and affected by it.

A century ago, our vessels of travel were a new invention, large and slow, unsafe, inefficient and ineffective, though still the most advanced technology of their time.  The number of car brands used to be immense.  A different design existed for every type of person, and there were thousands, mostly in America.  Today,  our vehicles are still the best available technology, and they still have those little rectangular license plates with the letters and numbers on them.  Our crafts are smaller, faster, and safer, but there is barely any choice at all.  Constant mergers and acquisitions move us closer to a world managed wholly by a single corporation.  A lesser selection of vehicle brands, models and colors reflects the globalist agenda to delineate human population into just a few personality archetypes.  In spite of that, the creative urge to engineer and customize their conduits into something new is how some individuals assert their independence from whatever group into which they are being filtered.

Car brands, like everything else propagated by the corporate elite, are meant to instill in the public a uniform view.  This view is likewise espoused by everything in the popular media, which includes, news, sports, music, and film.  A secret worldwide letter code, employed by the luminary heads of these influential corporations, is meant to subliminally train the people to behave the same.  The code is meant to appeal to the breadth of humanity, uniting them without their knowledge, imparting each of them with something in common.  Sameness is the aim of totalitarian society, however the healthy blood cells do all look alike.

The "Rule of 3" is how the code instills an identical force upon the world's entire population.  It is defined as the vast overuse of "3" letters, those whose order in the alphabet contains a multiple of 3.  This "3" group is strengthened through combination with the Catalyzer group, which includes A (1), B (2), J (10), K (11) and T (20).  The remaining letters are subsequently disenfranchised, and the power of the ideas which they represent is lessened in the public perception.  In this way, the world population is being led to follow a known form, more capable of being governed.

Kia Motors follows the "Rule of 3" as K.M. (11-13), and also as K.I.A. (11-9-1).  The "3" letters M (13) and I (9) are strengthened through combination with catalyzers K (11) and A (1).

Saab notably begins with "3" letter S (19), and additionally follows the "Rule of 3" in its entirety, as S.A.A.B. (19-1-1-2).  The "3" letter S (19) is strengthened through combination with catalyzers A (1) and B (2).

Fiat also notably begins with the "3" letter F (6), and additionally follows the "Rule of 3" in its entirety, as F.I.A.T. (6-9-1-20).  The "3" letters F (6) and I (9) are combined with catalyzers A (1) and T (20).  F.I. (6-9) is a common pairing because it suggests .666 by dividing.

Mini Cooper is the common M.C. (13-3) pairing which follows the "Rule of 3" as the combination of "3" letters.

Mercedes-Benz, regardless of the supposed origins of its name, follows the "Rule of 3" as M.B. (13-2).  The "3" letter M (13) is combined with the primary letter B (2) which acts as a catalyst.

BMW should attract immediate speculation because it is presented as initials only.  B.M.W. (2-13-23) follows the "Rule of 3" as the combination of "3" letters M (13) and W (23) with catalyzer B (2).  Boy Meets World is notably the same initials.

Smart Car follows the "Rule of 3" simply as the combination of "3" letters S (19) and C (3).

PSA is one of the world's largest corporations, responsible for manufacturing the Peugeot and Citroën vehicles.  Like BMW, it should attract attention because it is only letters.  P.S.A. (16-19-1) follows the "Rule of 3" as the combination of "3" letters P (16) and S (19) with catalyzer A (1).  The initials of the government-mandated term "Public Service Announcement" is not a coincidence, but also titled with extreme purpose in order to perpetuate the code.

Cadillac, Chrysler, Ford, Infiniti, Isuzu, Maserati, Mazda, Mitsubishi, Pontiac, Porsche and Subaru each follow the "Rule of 3" individually by beginning with the "3" letters C (3), F (6), I (9), M (13), P (16) and S (19).  Additionally, these single-word brand names can be analyzed entirely.  M.A.Z.D.A. (13-1-26-4-1), for instance, follows the "Rule of 3" entirely as the combination of "3" letters M (13) and Z (26) with catalyzers A (1) and D (4).  I.N.F.I.N.I.T.I. (9-14-9-14-9-20-9) is obviously designed as letter pun, a reference to the code, by replacing the Y (25) in "infinity" with I (9).  Even M.I.T.S.U.B.I.S.H.I. (13-9-20-19-21-2-9-19-8-9) consists almost entirely of "3" letters and catalyzers.  The Japanese origin of many of these names is designed to trivialize the existence of the code worldwide, which uses the English alphabet.  The reason that these are some of the world's largest companies is not family names or happenstance, but in order to support the code.

Of course, the "Rule of 3" cannot be used in all cases because the code would become too apparent, and noticed.  Other brands use the code differently.  Land Rover, for example, suggests 666, called the Number of the Beast, through the L.R. (12-18) pairing, which simplifies mathematically to .666 repeating.  GMC, another initialized company name, contains the eminent pairings G.M. (7-13) and M.C. (13-3).  Volkswagen, of course initialized as V.W. (22-23), is a common pairing which suggests a correlative relationship between the two ideologies being combined.  That the people continue to support a company which used slave labor during World War II proves that they have resigned themselves to accept their position as patrons of the global elite, who rule the people by way of an 
infrastructure which, unlike rivers or roads, is unseen.

Harry Houdini's Last Ouija Séance

In Western culture, the name Harry Houdini is practically synonymous with magician.  Yet, magic is not a force which Houdini was prone to suggesting was present during his illusions.  Instead, Houdini was not magician, but performer of physical feats, among the earliest stuntmen in history, strongman, and tactician whose ability to focus was centerpiece, under conditions created specifically to be as dangerous as possible.  An implication of Houdini's acts was that his mind informed his actions and guided him to safety, not some mysterious ethereal force or lapse in reality.  Houdini gained admiration and recognition greater than that felt by the conventional magician by intimating that the awesome mental potency necessary to complete his performances was all his own, and not imbued upon him by an exterior force of nature, such as an Angel or Demon.

In this way, Houdini was a secular magician, whose work existed not to venerate the unseen spiritual side of life, but to enliven man's confidence in himself, show him that what may seem impossible to one man will be swiftly and expertly achieved by another.  Still, coyness, the magician's consummate partner, allows for a bevy of interpretations.  The people of the early 1900s effected by his performances chose for themselves the nature of his power, either corporeal or invisible.  In both cases, he was an inspiration, empowering man's belief in himself, or the might of the universal God-force.

In the last years of his life, Houdini magnified the humanistic nature of his message.  Instead of espousing the divine nature of his gifts, he accentuated the permanence of death, working to disprove anything advertised as genuinely supernatural.  Spiritualism was a cultural movement gaining traction during that time which suggested that the living can communicate with the dead through séances, divination and simple devices such as the Ouija board.  Sherlock Holmes author Arthur Conan Doyle was a true believer, and theorized that Houdini indeed utilized some real sort of magic during his performances, and was want to withhold these powers from the general public.

Houdini passed through a gateway of two ornately engraved, massive wooden doors, one of which was open.  On a thinly worn Persian carpet the width of a sidewalk, he walked an unnumbered amount of steps before sitting down in a plush burgundy leather chair, not yet showing recognition to the man who sat opposite him, behind a desk much too large to  be reached over.  He sat back, crossed his legs, looked up and slowly blinked once at the man.  Before waiting for his superior, Harry spoke.  "Spiritualism must be curtailed.  The people aren't ready to grasp it.  You know that.  Why are you showing them our ways, and teasing the code directly to them?  Ouija boards are too powerful a tool, they brandish the code, they invite possession, they're beyond dangerous.  This is far too early, and you know these things."  The man across the desk replied without hesitation.  "Harry, everything is how it is meant to be.  This period of awareness will pass, and decades from now our society will be stronger than ever.  They don't know the code, nor the way, nor a single actual spell.  They'll never figure out a thing, until they and us are mutually prepared."  Harry looked on, like his fortune was being stolen right out of his wallet.  The man continued.  "Your degree in the society gives you freedom.  If you wish, you may attempt to retake these powers which you see as fleeting.  You will not be stopped.  Of course, you cannot talk about the code, or disparage concepts which the society champions.  Ouija is absolutely necessary to the development of the code, and the master plan."

The time has come, and the people are ready to learn the code.  Every letter is inextricably connected to its corresponding number, which is determined by its place in the order of the alphabet.  A, B, C = 1, 2, 3.  The alphabet can be divided into three distinct groups: Catalyzers, the "3" group, and the Right-sided group.  Catalyzers are letters which strengthen whatever they are combined with: A (1), B (2), D (4), J (10), K (11), and  T (20).  "3" letters are those whose position in the alphabet contains a multiple of 3: C (3), F (6), I (9), M (13), P (16), S (19), W (23), and Z (26).  Right-sided letters are what remains of the alphabet.  The vast majority of all mainstream films, horror films especially, follow the "Rule of 3", having the initials of only the catalyzers and "3" group.  Right-sided letters are used relatively rarely as initials.  It is appropriate that Horror films often follow the "Rule of 3" because films and shows are meant to represent the symbolism of their initials.  As a whole, the "3" group of letters symbolizes ideas which are liberal, progressive, forward, untraditional, iconoclastic, leftist.  The last century's most liked and seen Horror films all exhibit the code's methodology:

Alice, Sweet Alice (1976): A.S.A. = 1-19-1
Altered States (1980): A.S. = 1-19
American Mary (2000): A.P. = 1-13
American Psycho (2000): A.P. = 1-16
Berberian Sound Studio (2012): B.S.S. = 2-19-19
Black Sabath (1963): B.S. = 2-19
Black Sunday (1960): B.S. = 2-19
Body Parts (1991): B.P. = 2-16
Body Snatchers (1993): B.S. = 2-19
Cabin Fever (2002): C.F. = 3-6
Candy Man (1982): C.M. = 3-13
Cape Fear (1962): C.F. = 3-6
Castle Freak (1995): C.F. = 3-6
Cemetery Man (1994): C.M. = 3-13
Child's Play (1988): C.P. = 3-16
Creep Show (1982): C.S. = 3-19
Dead Silence (2007): D.S. = 4-19
Dog Soldiers (2002): D.S. = 4-19
Dark Water (2005): D.W. = 4-23
Fight Club (1999): F.C. = 6-3
Friday The 13th (1980): F.T.M. = 6-20-13
From A Whisper To A Scream (1987): F.A.W.T.A.S. = 6-1-23-20-1-19
From Dusk Till Dawn (1996): F.D.T.D. = 6-4-20-4
It (1990): I.T. = 9-20
It Follows (2014): I.F. = 9-6
Jaws (1977): J.A.W.S. = 10-1-1-23-19
Jeepers Creepers (2001): J.C. = 10-3
Paranormal Activity (2009): P.A. = 16-1
Planet Terror (2007): P.T. = 16-20
Peeping Tom (1960): P.T. = 16-20
Pet Sematary (1989): P.S. = 16-19
Puppet Master (1989): P.M. = 16-13
Saw (2004): S.A.W. = 19-1-23
Session 9 (2001): S.I. = 19-9
Shutter Island (2010): S.I. = 19-9
Sleepaway Camp (1983): S.C. = 19-3
Tales From The Crypt (1972): T.F.T.C. = 20-6-20-3
The 6th Sense (1999): T.F.S = 20-6-19
The Black Swan (2010): T.B.S. = 20-2-19
The Blair Witch Project (1999): T.B.W.P. = 20-2-23-16
The Cabin In The Woods (2012): T.C.I.T.W. = 20-3-9-20-23
The Stuff (1985): T.S. = 20-19
The Texas Chain Saw Massacre (1974): T.T.C.S.M. = 20-20-3-19-13
The Ward (2010): T.W. = 20-23
The Wolfman (2010): T.W. = 20-23
The Wicker Man (1973): T.W.M. = 20-23-13
The Wicker Tree (2011): T.W.T. = 20-23-20
We Are What We Are (2010): W.A.W.W.A. = 23-1-23-23-1
When A Stranger Calls (1979): W.A.S.C. = 23-1-19-3
Wolf Creek (2005): W.C. = 23-3
Wrong Turn (2002): W.T. = 23-20

Long ago, the Freemasonry elite secretly conspired with their members implanted in the entertainment industry, to follow a letter-number code in titling the entirety of all media, which would subliminally subdue the American population, so that goals towards New World Order could be sought.  Even if this code were not based on universal design and mathematics, its popular use in the media would still forcefully impart important meaning upon letters and numbers.

We humans were once one.  Those who were illuminated and those who were not worked together, lived together, in peace and war, but as one.  Then, some decided to separate.  These people considered themselves better than others, and unable to coexist among normal minds, which they saw as darkened.  The created a barrier separating their group from the others, a barrier which did not exist, an invisible meaningless abstraction.  Behind their wall, they felt safer to do their work.  Their minds focused on Psychology, Philosophy, Science and Religion, they saw a grand significance and deeper meaning in numbers.  They knew that a triangle represented a different idea than a square, a line meant something different from a point.  And when these higher people wrote the alphabet, they knew that it must have order.  So their order made an order of the letters, a New World Order.  This website exists to explain the secret letter-number code by which all media is titled.  If you're not already familiar with this code, welcome, and start with the Site Map and see what you can learn.

William Randolph Hearst: The Fake Citizen Kane

Citizen Kane, Orson Wells' 1941 directorial debut widely considered to be among the greatest films ever, tells the story of fictional business tycoon Charles Foster Kane, newspaper editor turned politician.  The character is supposed to be based mainly on real-life media mogul William Randolph Hearst, the influential American publisher famous for his lack of respect for journalistic integrity.  Hearst was among the first champions of "yellow" journalism, the blatant and outright abandonment of quality humanist content in favor of shameless populist marketing.  During the attention-grab he was said to have spearheaded during the beginning of the last century, his papers ran sensationalist, reactionary, and libelous material, subversively and politically motivated, as well as the entirely false.  

The ultimate irony is that in Citizen Kane, Hearst, under the guise of Kane, is portrayed as a radical hero of the common man, publishing material which, although may appear like scummy, unsubstantiated journalism, has only the loftiest of altruistic aims.  Without explanation, in both the film and real life, Hearst is applauded as an early proponent of manipulative propaganda, subversively steering public opinion towards favoring the Spanish-American War, through news content with a strong ulterior motive.  As Hearst's power grew nationally, the public enjoyed the fact that Hearst held such a substantial filter over the flow of news.  Instead of objecting to the news being molded homogeneously to the whims of a media tyrant, they applauded, presenting their views seemingly malleable as clay to be molded by their media idol.

Films like these, supposedly modeled as basically accurate, stylized biographies, are common Hollywood creations still.  Like the news which is expertly sculpted by the Hearsts of today, they exist to steer public opinion away from skepticism, unrest, distrust, or anger towards their governmental overseers.  Hearst was brazen in his efforts to influence and undermine, while the newsmakers of today hide their motivations as cryptically as possible.  Citizen Kane is a great film, but its effectiveness at trivializing the truth is of a far greater importance.  Charles Foster Kane is a man as a beacon, shining a light which blinds the public to the thousands of others working just alongside him.  Hearst's papers weren't the first to be adjusted to fit the people.  The unseen hand of the shadow government has worked quietly throughout the entirety of the last century, arousing some suspicion in the public view but nothing leading to the point of substantial cultural revolution.

Proof lies in Dreamtime Code.  Everything in popular media, from books to films, shows and slogans is titled according to the principals of the Illuminati Alphabet Code, the Conspiracy of Letters & Numbers.  Because people fail to recognize the Code's omnipresent use in the media, the public conception of the Legion's omniscient eye becomes minimized.  Now, let's take a look at how some of the most popular magazines in America are titled according to the some simple principles.  These titles all follow the code's main "Rule of 3" unless noted.

Sports Illustrated moves to S.I. (19-9).  "3" letters used in combination.

Scientific American follows as S.A. (19-1).  "3" letters S (19) is strengthened by catalyzer A (1).

Motor Trend moves to M.T. (13-20).  "3" letter M (13) is strengthened by catalyzer T (20).

Men's Fitness moves to M.F. (13-6). "3" letters used in combination, again following the "Rule of 3".

Family Circle moves to F.C. (6-3), which follows the "Rule of 3" as the combination of letters which contain a multiple of 3.

Fast Company is the same thing.  

Field & Stream moves to F.A.S. (6-1-19).  The ampersand (&) represents "and" moves to A or 1.  This title follows the "Rule of 3" as the combination of catalyzer A (1) with "3" letters F (6) and S (19).

Food & Wine moves to F.A.W. (6-1-23).  Titles like this are designed to seem like a natural choice, however in reality are chosen because they adhere to the code well.  Catalyzer A (1) is combined with "3" letters F (6) and W (23), following the "Rule of 3".

Popular Mechanics moves to P.M. (16-13).  "3" letters used in combination, following the "Rule of 3".

Popular Science moves to P.S. (16-19).  Again, "3" letters used in combination, following the "Rule of 3".

InStyle is one of those confusing examples because it's not even a real word, but two words combined.  In either case, I.S. or S.I. follow the "Rule of 3" as the combination of the 9th and and 19th letters.

Ser Padres is among the most popular Spanish-language publications in the United States.  S.P. (19-16) is an extremely common letter pair following the main "Rule of 3". (South ParkSouth Pacific, Sex Pistols, Smashing Pumpkins, Snack Pack).

Maxim is a good example of the code's use within a single word.  M.A.X.I.M. (13-1-24-9-13) follows the "Rule of 3", besides the X (24).  However, it is used as a catalyzing letter because it basically symbolizes eternity or infinity.  X (24) and A (1) strengthen the "3" letters which are surrounding.

GQ is a interesting case because, while neither G (7) nor Q (17) are "3" letters, the combination of the two "7" letters solidifies their connection, and the separateness of their group.  These letters also reflect the personality of the magazine as a brand.

FHM (6-8-13) projects a more boldly masculine image, in contrast to GQ.  This brand name consequently utilizes "3" letters F (6) and M (13) in combination with H (8), which basically symbolizes Happiness.

Boy's Life, the widely circulated official periodical of the Boy Scouts, contains the B.L. (2-12) bond, which has the same effect as A.F., 1-6, because B.L. moves to 2-16, the same ratio.

Golf Magazine may seem like a innocent, simple title, but contains the G.M. (7-13) pairing, which has an influential role in the code.

Home Power is a prominent engineering publication with a large circulation.  H.P. (8-16) is common because P / (H+P) = .666.  Like B.L. and G.M., H.P. is common because of parameters ancillary to the code's main "Rule of 3", augmenting its depth.

Rolling Stone is an good example of how the code prefers to ascend rather than descend between adjacent letters in the alphabet.  Home Improvement (H.I., 8-9), Indiana Jones (I.J., 9-10), and Family Guy (F.G., 6-7) work the same way.  Radio Shack and Reel Steel (film) are the same.  You will very rarely ever see a S.R. title.

W, the women's magazine, is a brazen use of the letter code.  W is the important 23rd letter which represents the masculine ideas of War, Want, and Winning.  In our modern era, however, these have been transplanted into feminine traits.

Marie Claire is yet another example of the "Rule of 3".  M.C. (13-3) is the combination of "3" letters. A title with initials N.C. might be more appropriate for a women's magazine because M is a leftist masculine letter while N is a right-sided feminine letter.  But roles have now been reversed, and women are turning away from their former stereotypical enforced personalities.  N.C. would also not follow the "Rule of 3".

Elle and Vogue are interesting examples because, as women's magazines, they  appropriately contain only right-sided, feminine letters: E (5), L (12), V (22), O (15), G (7), U (21).  These act in opposition to the left sided, masculine "3" group.  By combining letters of the same group, their separateness is reinforced.

You are walking alone in the forest, see a tree and approach it.  You walk around it several times, back and forth, and see nothing and no one.  Opposite you, behind the tree is standing a man.  Then, you walk away, knowing nothing.  On the way back you see another man, and hand over control of the forest to him.  The man is still standing behind the trees.

Some witty person may make fun of the funny little dumb things present in so many movies:  The misguided sidekick, the loudmouth minority, the unlikable mother-in-law, the screw-up brother, the promiscuous sister.  The cliches.  Ever notice how a joke travels?  Like it's on wings, across the nation all at once, everyone starts making some silly joke, like "working hard or hardly working", hump day, twerking, planking.  These stupid jokes, which are endlessly changing and endlessly arriving, are the result of the choices made by the Illuminati's Minister of Propaganda.  They are not the result of randomness or word of mouth.  They exist because the collective consciousness of the Illuminati decide that they should.

So, let me to tell you about the show.  The show has existed for as long as the Illuminati has existed, which is exactly the same amount of time that history has existed.  They have been holding humanity in their grasp for as long as they have had the opportunity.  But things have really sped up recently.  The current incarnation of the show began a century ago, when the idea of a mass media became possible.  Before that, centralization was problematic.  Fast worldwide travel was impossible, as was the instant communication which we have had for a couple decades.  But by the turn of the last century, new things became possible as the result of technological advancements.  Since then, they've tried their best to turn sense and logic completely upside down.  Society isn't going really down, it's our mandated perception which tricks us into thinking that we are not perennially developing as humans and as a world society.

One of the Illuminati's main directives is controlling the message of the mass media.  Every single thing you see on television is there because they put it there.  Every one of us is being lead in one direction.  The last century was not a random, uncontrollable mix of thousands of different personalities, celebrities, writers, actors, musicians and artists.  It was a exhibition controlled by the powers that be, the powerful men and women who collectively rule the world.  From a single outlet, these power-hungry psychopaths control every newspaper.  They author every film, every television program, every song, book, and magazine.  For over a century, everything seen or heard in the "Free World" has been subject to the censorship, nay, authorship of this group of individuals.

It is often asked (in movies): How high does this conspiracy go, to the President?  Of course it does.  Like so many things on screen, this question is the exact opposite of what would make sense.  Instead ask: How low does this go?  Are all professional athletes Illuminati members?  Are the members of every popular band, every singer, rapper Illuminati?  Is every recognizable actor in Hollywood Illuminati?  Yes, they all are, all of these people.  Why do they have to be Illuminati?  Because without their complete understanding of what the show is, why it exists, they would not go along with it.  Many actors, actresses, musicians and singers have made terrible, horrific, embarrassing contributions to our culture.  But, they didn't do it because it was their choice.  They did it as their contribution to the Show.  All the leaders of every field in the world are Illuminati.  The most famous Artists, Poets, Politicians, Scientists, Authors, even the best Skateboarders, Snowboarders, Bikers, every single one.  The sad truth is that if you've heard of them, they are in on the joke.  Hidden in plain sight.  All these actors are playing a lifelong role, someone else with the same name.  Someone who isn't a liar, someone who isn't Illuminati. 

The company men of the Illuminati all play a game together.  What game do you think they play, those who have everything, know everything, see everything?  What's the funnest thing in the world to these people, who have nothing else to do with their time anymore, to fulfill themselves?  Murder, of course.  The Illuminati's game is played on your television sets, in your theaters, in your books, songs, and phones.  The highest ranking Illuminati, those who write and produce all these things, are trying to trick you into dying.  They are trying to make you die childless, and they are trying to make you kill yourself by accident, and they are trying to make you kill yourself on purpose.  How does a person score in the Illuminati game?  By making someone die.  By tricking them into believing something which is not true, causing them to lose their contribution to existence, causing them to become nothing, to be dead.  If this Illuminati member causes you to lose yourself, he or she gets a point.  This is the game the Illuminati play.  I am not saying this metaphorically.  I am saying this literally.  This is the game, which they think helps the world by removing the worst from the world, speeding up evolution and preparing the world to step into a new era.  They think they're being righteous, doing God's work, killing you all softly.

The Illuminati power structure is vastly complicated, but really very simple.  Complicated maps try to connect various organizations and political families, but it's way simpler than that.  Only a single worldwide unified club actually matters, and that's the Illuminati.  Most Freemason's don't know anything important.  But every single one of the highest ranking Freemasons is Illuminati.  How does the Illuminati find members?  At age 7, the age of reasoning, in the schools.  In your American public schools.  They ask you various questions, and those who have a certain type of mature brain are offered membership in this organization.  When you can't say no.  What child would say no a life without worry, a life without want, a life without sadness?  They make you an offer you can't refuse, and all these poor innocents are bribed into a lifetime of fame and fortune, servitude and slavery.  How do I know these things?  That's not relevant.  All you need to know is The Code.

Jobs and Gates: Rigging the World Business Economy

There is no single principal upon which America was founded.  Many assert that it is Democracy, a political ideology, while others believe that it is Capitalism, an economic one.  The concept of Freedom is commonly referred when describing what makes America's excellence singular.  Unfortunately for the contemporary man, each of these concepts is an ideology, a concept which would operate efficiently in a perfect world, but is resolved to flawed, slow growth in the real one.  Many people worldwide are aware than even in America, the country supposedly with the greatest example of Democracy, it is executed imperfectly.  Systematic voter fraud has occurred numerous times historically.  Patriarchal dynasties control the largest political groups.  Until relatively recently, entire population groups were not granted their right to vote.  The country's president is elected indirectly.  True Democracy is a theoretical concept which although seemingly unattainable should nonetheless be the ultimate goal.  

The manner in which American Capitalism has been implemented reflects the unbalanced nature of its Democracy.  The small business owner is idealistic in his visions.  A properly owned and marketed business will eventually, righteously take off.  It's not just the American Dream, it's the American Promise.  Unfortunately for the unsuspecting entrepreneur, America's real version of capitalism is founded upon carefully secretive collusion, nepotistic and fraternal favoritism, price fixing, artificially controlled growth, and outright conspiracy.  The small business owner simply isn't participating in the same economic system as the Freemason or societal luminary.  The magnate American businessperson is a classic image, working his or her way up from a modest origins to enormous success.  It's a good model to emulate, for the lesson must be that hard work gets results.  The fallacy of these stories is that these men and women, famous for their acquired wealth, wouldn't have obtained what they did without the secret aid of others. 

Somehow, deceased Apple founder Steve Jobs is a folk hero for the day, credited with inventing some of the devices which have changed our current world, despite not really inventing them.  The role of his life was spokesman for a company, and leader to a group of followers.  Apple is just like every other corporation, a small puzzle piece in the Legion-regulated world economy.  As an Illuminati-controlled entity, all of its products have been titled according to Dreamtime Code, the secret number-letter code used universally across all of world media.  This code has till now been the main tool used by the elite to subjugate the lower class.  Now, they've lost that power.  

The code's main principal is the "Rule of 3", the vast overuse of letters as initials which contain a multiple of 3 according to their place in the alphabet:  C (3), F (6), I (9), M (13), P (16), S (19), W (23) and Z (26).  This group is also used in combination with catalyzers A (1), B, (2), J (10) and T (20).  The remaining letters are not used nearly as commonly.  This simple code has been secretly in use for decades.  The worldwide psychological effect of this media-wide code cannot be undervalued.

MacBook Pro: M.B.P. (13-2-16) follows the "Rule of 3" as the combination of catalyzer B (2) and "3" letters M (13) and P (16).

MacBook Air: M.B.A. (13-2-1) follows the "Rule of 3" as the combination of catalyzers A (1) and B (2) with "3" letter M (13).

iPod Shuffle: I.P.S. (9-16-19) follows the "Rule of 3" as the combination of "3" letters I (9), P (16) and S (19).

iPhone: I.P. (9-16) follows the "Rule of 3" as the combination of "3" letters I (9) and P (16).

iPadI.P.A.D. (9-13-1-3) follows the "Rule of 3" in its entirety, as the combination of "3" letters I (9), and P (16) with catalyzers A (1) and D (4).

iMac: This product name follows the "Rule of 3" in its entirety.    I.M.A.C. (9-13-1-3) follows the "Rule of 3" as the combination of "3" letters C (3), I (9), and M (13) with catalyzer A (1).

iTunes: I.T. (9-20) follows the "Rule of 3" as the combination  of "3" letter I (9) and catalyzer T (20).

AirPort: A.P. (1-16) follows the "Rule of 3" as the combination  of "3" letter P (16) and catalyzer A (1).

Apple Mouse: This name may seem obvious and innocent, but everything is titled with extreme intent.   A.M. (1-13) follows the "Rule of 3" as the combination  of "3" letter M (13) with catalyzer A (1).

Apple StoreA.S. (1-19) follows the "Rule of 3" as the combination of catalyzer A (1) and "3" letter S (19).  Brand names such as this, disguised as the obvious choice, trivialize the simplicity of the code.

Microsoft products names use the code in a more complicated, clouded manner, which makes sense considering the differences in marketing between the competing corporations Apple and Microsoft.  Microsoft Windows: M.W. (13-23) notably follows the "Rule of 3" as the combination of "3" letters M (13) and W (23).  Microsoft is itself a word combining the initials M.S. (13-19), which also follows the "Rule of 3" as the combination of "3" letters M (13) and S (19).