Forget Harry Potter, It's Horus Ptah


Harry Potter is a person referenced thousands of times daily, all over the world, yet he never even existed.  Like the Easter Bunny, Santa Claus and Sand Man, he's a mythical figure of an immense power which has no source nor destination.  When people expend thought and energy towards someone that doesn't exist, practically praying towards him, what happens to that energy?  The laws of physics dictate that every action has an equal and opposite reaction.  So, where does that energy go when people's attention is rapt upon a man who's not there to accept it?  We know that every living person named Harry Potter has felt that energy.  People who know someone of that name have also felt the result of the author's choice.  Moreover, it's possible that, right now, all of history's deceased Harry Potters are in heaven, happy that they have become so famous in the world.  In that case, things that seem like small script choices would have permanent metaphysical affects.  

Once their fame and legacy is concretely established, fictional characters like Harry Potter can be transfigured into demigods, the immortal, imaginary effigies of mankind.  The cultural legitimacy of Egyptian Gods such as Horus and Ptah has been nearly mitigated to oblivion over the past century.  The influence and power they once held has been squelched and transferred to a new set of titans, depicted on cartoons rather than cartouches.  The authors of the world media lift their characters to the level of saintliness by creating fictional universes which reflect the mathematical perfection of the celestial.  Like the ancient Roman and Greek structures, constructed with knowledge of the Golden Ratio in mind, modern media pieces are instilled with forms congruent with human understandings of beauty, such as symmetry, sequence and consonance.  

Imagine that you're a detective, looking for a reason why.  Think about the title of everything that you see, every movie, television show, band, album, slogan, or product, because it was constructed with reasoning.  Examine it for a moment, consider its initials, and if you understand The Code, you can arrive upon a reason for its title being what it is.  The initials H.P. (8-16), for example, are common in the international mass media.  There's the eminent Harry Potter, H.P. (computers), Hit Parade (show), Hall Pass (film)Hot Pursuit (film), House Party (film), High Plains Drifter (film), Hudsucker Proxy (film), Hot Pockets (product),  Half Pint (singer), "Happy People" (many titles), "Hit Points" (videogame term), and many others.  Since we know that the code is everywhere, all-encompassing, and follows set rules, we can try to figure out a reason why this particular initial pair is common.  The reason why it's so common is not immediately obvious.  After a step of logical thought, we can arrive upon a possibility.  H is the 8th letter and P is the 16th.  Add them up, and 16/24 simplifies to 2/3, .666.  In other words, P / (H + P) = .666.  This is an extension of the code's main principal, the "Rule of 3", but sensible considering that 666 is the goal of the code.  The symbolism of H and P individually is still relevant, however the ratio created between the two letters is the important statement.

The  "Rule of 3" is defined as the vast overuse of "3" letters as the initials of media titles.  These letters are C (3), F (6), I (9), M (13), P (16), S (19), W (23), and Z (26), those which contain a multiple of 3 according to their place in the alphabet.  The Harry Potter series consists of seven books, and each title is basically two words.  Six out of seven of the titles contain a "3" letter as the initial of one of these two words.  In two titles, both words have "3" letters as initials. The seven titles in the series are Harry Potter and the:

Philosopher's Stone (1997)
P.S. equals 16-19, following the "Rule of 3" as the combination of "3" letters.  P.S. also suggests 6/9, which is .666.

Chamber of Secrets (1998)
C.S. (3-19) also follows the "Rule of 3" as the combination of "3" letters.

Prisoner of Azkaban (1999)
P.A. (16-1) also follows the "Rule of 3".  P (16) is a "3" letter which is strengthened by the catalyzer A (1).

Goblet of Fire (2000)
G.F. equals 7-6.  F.G. (6-7) is a prominent pairing suggested here because the word "of" can alter the order of a bond.  This title is making a statement about the conflict between the ideologies of these two letter-numbers.

Four out of seven of the titles contain "of" between two main words.  The word "of" is usually not considered O (15) in reading the code.  It basically acts as a buffer between the two words surrounding it, but can also have the effect of switching their order, so Goblet of Fire may be related to F.G. more than G.F.  The implication is that one letter is weaker than the other because it is "of" the other, owned by it, encompassed by it.  The code treats F stronger than G, so "G of F" makes sense if that empowers F.

Order of the Phoenix (2003)
O.P. equals 15-16, another example of adjacent letters.  According to the above rule regarding "of", O is subordinate to P, which makes sense because P (16) is a "3" letter, while O (15) is part of the weaker side of the alphabet, according to the code's usage.

Half-Blood Prince (2005)
H.B.P. equals 8-2-16.  If you ignore the primary letter B, which acts as a catalyst, this title actually has the same initials as "Harry Potter".

Deathly Hallows (2007)
D.H. (4-8) is the same ratio mentioned above with H.P (8-16).  In this case, H / (D+H) = 8/12 = 2/3 = .666.

Fantastic Beasts And Where To Find Them (2001)
The long title of this spinoff book trivializes the simplicity of the code.  T.F.B.A.W.T.F.T. (6-2-1-23-20-6-20) follows the "Rule of 3" entirely.  F (6) and W (23) are "3" letters because they contain a multiple of 3 according to their place in the alphabet.  They are strengthened by catalyzers A (1), B, (2), and T (20).  A large portion of all mass media titles follow this exact form.

The Code is not limited to just titles, but is also used to name fictional characters.  Ron Weasley, for example, is R.W. (18-23).  There are many real celebrities with these initials because these are two powerful letters.  So, it makes sense for a fictional character to have these initials. Hermione Granger is H.G. (8-7).  The code usually prefers to ascend between adjacent letters.  The relationship between H and G is more complicated, however.  Guitar Hero, The Glass House and General Hospital ascend, while Happy Gilmore and The Hunger Games descend.


Gryffindor, Hufflepuff, Ravenclaw, and Slytherin, the houses of Harry's school Hogwarts, are also interesting because of their initials.  Each possess great stature and importance in the alphabetical struggle.  G (7) and H (8) are just like Hermione Granger.  R (18) and S (19) are another pair of adjacent letters, both of which are influential characters.

The Media Alphabet Code is, among other things, a marketing tactic.  Everything is titled so that its initials appeal to the target demographic.  H.P. was chosen for the Harry Potter franchise because it was the best business decision.  Each letter has an intrinsic symbolism closely related to the most important and common words beginning with that letter.  H (8) stands for things like Happy, Hope, Heaven, Hate.  P (16) for Past, Party, Pain, Path.  The symbolism of these two letters, as well as the mathematical relationship between them, is the origin of Harry Potter's name.  The Illuminati know this principal well, the general audience understands it only subconsciously.  

Books, magazines, televisionslogansvideogamesstores and products are all titled according to the principals of the code.  The Code exists for many different reasons. Some are benevolent, while others are more sinister.  Why the code exists is important, but one's first step has be understanding what the code is, which is a puzzle specifically designed to be unnoticed by the public.