The Iron Giant - Decoded (Part 3 of 3)

The Synergy and the Scheme

Found alongside the chemical component of pharmakeia there is often another, an audio component. Music frequently complements the drug component in the enchantments of the great city Babylon because together there is synergy. One powerfully enhances the effects of the other. (See Pharmaceuticals - The Sorceries of Babylon, Musical Enchantment section) I suspect that the two scenes I've identified as exhibiting the use of pharmakeia are the only ones with native music content. I can't say for sure without watching the whole movie again to verify it, but, regardless, both drug scenes definitely have this musical content.

There are basically two kinds of audio content in movies. One kind is native to a scene, internal, what the characters might hear. The other kind wouldn't be heard by the characters. This is added to enhance the experience for those watching the movie. When the native kind is music, one of the ways you can tell it apart from external soundtrack music is by considering the camera and microphone together as an observer's eyes and ears. If the audio and video are related as appropriate to the movement and placement of an observer, the music is native to the scene. This is how you can identify the coco-lax and espresso scenes as having music playing for the characters while the drugs are working to facilitate and cloak the spell.

When we first see Hogarth and Kent at the Rexall Pharmacy they are inside, seated at the counter, being viewed from outside through the front door's window. We hear some softly muted jazz. When the "observer" moves (@ 44 minutes 14 seconds into the movie, if you're searching) inside the pharmacy we hear the volume of the music jump accordingly, revealing that the music is being played inside. A similar shift takes place in the espresso scene (@ 39 minutes 0 seconds into the movie). During the set-up for the scene we're shown Dean's Hi-Fi and his extensive jazz record collection, which helps call it out to our attention.

The synergy of the drugs and music working together is no small matter. The Iron Giant has been demonstrated to be very finely crafted with occult symbolism. The pairing of the drugs and music accompanying the evil deed and the evil lie is consistent with the high level of craft I've pointed out in the movie's promotional poster, the naming of Hogarth, the design motifs, plot elements, etc. Satan has been working the art of deception for a very long time, and he's got it down pat.

You may consider that we've got the "wine" and song, but where's the women? We've got the drugs and "rock 'n roll" but where's the sex? These three are the big three in the devil's combo pack, after all. Well, the "daughters of men" are right in view! The coco-lax/jazz ploy was working Kent Mansley as the target of control. The espresso/jazz ploy was working Hogarth as the target of control.

Early in this study, I showed how the name "Hogarth" had to have been carefully chosen to add layers of appropriate meaning to the character. I perceive meaning in the names of the supporting characters in both of the pharmakeia scenes too.

Kent Mansley signifies "Man." *Man*sley. He's the target in the coco-lax ploy as man is the target of Satan's devices. He is the movie's antagonist and the government agent, representing "The Man." Anti-establishment types beginning in the early 50s were all about "sticking it to The Man." Mansley is the unreasonable, irrational and actually deranged (insane) authority figure, a bully against whom rebellion is easily justified and encouraged. Hogarth always gets the upper hand in confrontations with Mansley.

In contrast, there's Dean McCoppen. Mc*Cop*pen. While Hogarth gives Mansley no respect, Hogarth gives Dean some respect as might be due an older brother. McCoppen as "the Cop" is accorded more authority than Mansley.

Consider some dialogue that prefaced the espresso scene.

Hogarth: "Look, you're not going to call my Mom, are you? She doesn't know I'm out."

Dean: "Don't worry, kid. Look, it's not my style to report a guy to the authorities."

McCoppen has this power over Hogarth and exercises this authority as it pleases him. He's obviously anti-establishment, against "The Man."

His first name, "Dean," alludes to the iconic actor James Dean. One of his signature movies (1955) is titled, "Rebel without a Cause." Dean Mc"Cop"pen is really all about rebellion and lawlessness. His living quarters feature a poster of Jack Kerouac, "beat poet" and immoral iconoclast.

The incongruity in naming the anti-authority figure McCoppen is consistent with how the James Dean imagery (angry and violent) clashes with the yin yang (symbol on his bathrobe) hippy artist imagery. This establishes cognitive dissonance, effectively subverting rational filters so the lies are more likely to pass with acceptance.

When lies are introduced, especially with pharmakeia involved, they don't have to be rational. In fact, a lie seems to be better accepted if it is irrational. If you analyze the dialogue in the espresso scene, Dean dropped the big lie as an irrational response to what Hogarth had been saying. If "You are who you choose to be" was actually some legitimate advice offered to Hogarth to help him solve a problem, it completely missed the mark!

Hogarth had explained his situation in detail. The problem was that his mom moved him up a grade in school to give him a challenge, so his classmates are generally a year older and more physically mature, bigger. All the "big mooses" want to pound him and steal his lunch money. That's the problem. Hogarth reveals their perception of him when he refers to himself as, "a shrimpy dork who thinks he's smarter than them." He makes it very clear that it's not his perception of himself.

So how does it help Hogarth deal with this situation by telling him this? "Look, its really none of my business kid, but, uh, who cares what these creeps think, you know? They don't decide who you are, you do. You are who you choose to be!" Hogarth didn't care what they thought of him. He cared that they pound him and steal his lunch money. Hogarth didn't think of himself as a shrimpy dork. Dean's response was irrational, and an untruth delivered as a hypnotic suggestion with the aid of pharmakeia.

Pharmakeia. This is one example of how it works.

Antichrist meme: I am not a gun.

Adding some necessary back-story here, the iron giant robot's programming was damaged somewhat during an incident at a power station, where Hogarth found him and "saved his life." One facet of his programming was reset so the robot appears in kind of a child-like state where he can learn and be reprogrammed. His self-defense response remains, which betrays his purpose. The fact that the iron giant had been designed and programmed as a robotic weapon eventually becomes rather obvious to Dean and Hogarth.

When the government agent is finally able to convince the military that the robot is real and a legitimate threat that needs to be destroyed, the ensuing battle brings the movie to a climax. The military, influenced by the deranged agent, is bent on destroying the iron giant, whose self-defense program and superior weapons technology is making the ultimate outcome of the battle obvious. If it were to continue, the threatening military forces would surely be destroyed, resulting in enormous collateral damage. This doesn't appeal to Hogarth. When the military finally decides to escalate and use their weapon of last resort, a nuclear (assumed) missile is launched, targeting the iron giant's location. Hogarth and everyone else in the area appear to be doomed. The giant could easily escape and leave everyone to die while he destroys the forces of the aggressor. However, he has integrated Dean's aphorism into his programming. He had been made as a weapon to destroy mankind. He chooses to become something else. "I am not a gun!" is his testimony! So, evaluating the situation, he flies up into the heavens and intercepts the missile, saving everyone. He is blown to bits, thus sacrificing himself to save mankind.

The iron giant's sacrifice is very noble, an admirable deed associated with great love. This is an allegory pointing to the sacrifice of the only begotten Son of God. The iron giant is indeed like Christ but as a substitute; antichrist.

When the time came for Y'shua to be captured, judged, beaten and crucified, he did not defend himself. In stark contrast, the iron giant's self-defense program was definitely in play.

Y'shua made a key decision before his sacrifice. "Not my will but thine be done," He said, as He prayed in Gethsemane. He had options and the ability to choose. The iron giant modeled this. Operating on the premise of, "You are who you choose to be," he decided, "I am not a gun." While Y'shua chose to fulfill the purpose to which he was appointed, the iron giant chose to rebel against the purpose to which he was appointed, which must have been as "a gun," to destroy mankind. The true savior of man did and does save, achieved through obedience and the subjection of his own will. The false savior of man presumes to do so through disobedience to his maker's will.

There is another angle here, looking forward instead of back in time, and this is the threat that justifies the special packaging and delivery effort that was facilitated by pharmakeia. When Y'shua returns, He'll come as "a gun," destroying the work of the enemy. When He does, hH will NOT choose to not be "a gun." When He comes, the "iron giant" and those who side with him will suffer wrath.

The rider on the horse will come as "a gun" and will not repent of the appointed task of executing judgment.

Those the Beast deceives, who take the mark, perhaps based on the premise that they can later change their minds and choose to un-mark themselves, will have taken the bait and surely swallowed and set the hook. When the line is reeled in, they'll side with the "iron giant" Beast in the campaign against the true Messiah and His forces. Will they suppose, in their delusional state, that the Messiah will show mercy in that day that is appointed for wrath?

You see, the iron giant version is a lie. It presents a false savior and a false hope of the kind that leads to destruction. Instead of promoting obedience to our Creator's "programming," which leads us to get to know Him and love Him and follow Y'shua's example of submission even unto the death of this body of flesh, it promotes the opposite. Instead of the spirit of Christ it promotes the spirit of antichrist.

If you know people who might yet be persuaded to repent of their rebellion and turn from the ways of the great city Babylon, such as this movie may be a useful example. But, all that is really necessary is the Lord's word in your mouth. Pray and do as the Lord leads. I pray that the Lord will bring forth laborers into His harvest field. Time is short. Our opportunities will soon look very different, my friend.

Cerberus guards the gates of the underworld - Sirius and the Dogon

The Iron Giant (1999) features the giant iron robot as a future Beast of Revelation 13 and as an ancient god as worshiped in antiquity. In this chapter, I'm presenting a few more features that identify the iron giant with the gods of the ancients. These various identities, as you may know, resolve to the dragon/serpent Lucifer or Satan and his near companions, the fallen.

In battle sequences, various facets and forms of the robot as a weapon are presented. Among them is the form of Cerberus, often referred to as the hound of Hades. According to legend, this was a multi-headed dog that guards the gates of the Underworld to prevent the dead from leaving. Cerberus was usually described as having three heads, a serpent for a tail, and snakes protruding from multiple parts of his body.

Hogarth's house has been shown in this series to be decorated with an abundance of symbolic patterns and other elements. On one wall appears two masks. One of these resembles a traditional Malian mask, as worn in one of the cults of the Dogon. You'll notice a feature shared with the iron giant, a forehead fin. This must be a family trait that identifies them as relatives. The gods worshiped in ancient times were indeed "iron giants," the Watchers or their Nephilim spawn.

I copied an excerpt from a page that is no longer online, unfortunately. It's about the West African tribe, The Dogon of Mali. This seems to offer some insight into why the tribal masks are featured in The Iron Giant.

"In the late 1940’s, Dogon priests greatly surprised the French anthropologists Griaule and Dieterlen by telling them of secret Dogon myths about the star Sirius (8.6 light years from the earth). The priests said that Sirius had a companion star that was invisible to the human eye. They also stated that the star moved in a 50-year elliptical orbit around Sirius, that it was small and incredibly heavy, and that it rotated on its axis. All these things happen to be true (the actual orbital figure is 50.04 +/- 0.09 years). But what makes this so remarkable is that the companion star of Sirius, called Sirius B, was first photographed in 1970. While people began to suspect its existence around 1844, it was not seen through a telescope until 1862. The Dogon beliefs, on the other hand, were supposedly thousands of years old."

One of the most well-protected mysteries of the Freemasons regards the role of the dog star Sirius. (As related by Dr. Robert Hieronimus) These are no fabricated myths perpetuated by a merely superstitious culture of simpletons.

Continuing with another excerpt, consider the messianic, or, antiMessianic feature of the the worship system the iron giant's relatives inspired.

"The Dogon say their astronomical knowledge was given to them by the Nommos, amphibious beings sent to Earth from Sirius for the benefit of mankind. The word Nommos comes from a Dogon word meaning "to make one drink," and the Nommos are also called Masters of the Water, the Monitors, and the Teachers. The Dogon myths tell the legend of the Nommos, who arrived in a vessel along with fire and thunder. After they arrived here - they put out a reservoir of water onto the Earth then dove into the water. There are references in the oral traditions, drawings and tablets of the Dogons, to human-looking beings who have feet but who are portrayed as having a large fish skin running down their bodies. The Nommos were more fishlike than human, and had to live in water. They were saviors and spiritual guardians: "The Nommo divided his body among men to feed them; that is why it is also said that as the universe "had drunk of his body," the Nommo also made men drink. He gave all his life principles to human beings." The Nommo was crucified and resurrected and in the future will again visit the Earth, this time in human form."

Again, "The Nommo was crucified and resurrected and in the future will again visit the Earth, this time in human form."

And who taught such things to those who worship their ancestors who were gods and descended from gods?

The masks on Hogarth's wall are consistent with the oak and acorns symbolic of Zeus and Apollo. They expose the iron giant as something more than an innocent cartoon. The figure is a god, worshiped by the ancients and by those today who have the cunning to put such as this media production out into the world with confidence that it will perform its appointed work with stealth.

The face of another relative of the iron giant appears in a context that presents another notable feature of the Watchers and Nephilim in the earth. The appearance of this face is more subtle than the masks on the wall but is still discernible. This face appears in Dean McCoppen's scrap yard amongst the vast heaps of junk. The yard is the iron giant's hideout, and the junk is what he eats. The yard is like a graveyard for old cars, trucks, farm equipment, appliances, etc. In this graveyard is what appears to be the weathered inanimate head of another iron giant. The iron giant eats the scrap, and since the scrap happens to include another iron giant, this is what we call cannibalism.

These giants devoured mankind, which was shown earlier in this series to be cryptically pictured in the serving bowl. They also devoured one another's flesh, pictured in the iron giant's feasting upon the contents of the iron giant graveyard. Is there any doubt what the iron giant agenda really is? The giants are returning in another attempt to finish what they started.

There is, of course, a messianic version of the scrapyard feast, mimicked by this evil production.

No such life will await those who are preyed upon by those who serve the fallen iron giant gods and fail to resist their schemes. The true messiah, Y'shua has the life you want. The banquet is set before you. Open your eyes and learn to understand symbolic language. Your life may depend on it.

The Symbolic Treasures in Hogarth's Drawer

The feature-length animation, The Iron Giant, provides insight into Satan's programs preparing the world to receive the coming Beast of Revelation 13. Symbols conceal on the one hand and reveal on the other. The symbolic elements in this clever cartoon movie are rich with meaning. Featured in this chapter are the esoteric contents of a dresser drawer in Hogarth's bedroom.

The first thing I notice in the drawer is an 8 ball. Considering this object as one of the pool game variety alludes to the pyramid formed by the 15-ball rack formed at the beginning of the 8-ball game, in which the 8-ball occupies a key position. However, the context suggests a look-a-like object called the Magic 8-Ball, the meaning of which is supported in the context of the other objects in the drawer. This "toy" was about as popular as the slinky, silly putty, Frisbee and hula-hoop when I was growing up.

This ball has a clear view-port opposite the white circle with the 8 inside. If you hold the ball with the view-port up you can see a triangular face float to the top with a message on it. To use the ball, you turn the view-port down, ask it a yes/no question, then rotate the view-port up so the answer comes into view. This toy is an introductory version of an oracle used for divination. It was invented in 1946 by Albert Carter, whose father was a clairvoyant, an occult practitioner in the magical arts of divining. It compares most closely to a crystal ball.

The popularity of this oracular object and its distribution as an innocent toy compares to the phenomenon of the Ouija board. These tools of divination encourage the practice of the occult arts in rebellion against the commandments given by the one true God for our protection. Giving children access to these objects is like setting a welcome mat out for the abundance of lurking demons who await such invitations. The object remains today as a cultural icon, evidenced by this Allstate Insurance commercial.

I'm going to explore this single object a little further before I move on to the other contents of the drawer because of how popular similar elements are in the entertainment media and how little regard is typically given them in our ignorance.

Why did the son of a clairvoyant choose an 8-ball as the pseudo-crystal ball object? Probably because black objects may be used as well as crystal for divining.  Also, the figure 8 on the 8-ball is also the infinity symbol that represents the transformation of man from mortal to immortal being. This is also the underlying theme of the movie!

The magic 8-ball is not the only object in the movie signaling divination. In an earlier chapter, I presented the bathroom cabinet mirror, identifying it with the practice of scrying. That's a kind of divination where the mirror facilitates communication with spiritual entities as through a dimensional portal. The formal name for this is catoptromancy.

In popular culture the "classic" animated feature "Snow White and the Seven Dwarfs" features this practice with the question asked being, "Mirror, mirror on the wall, who is the fairest of them all?" Disney productions specialize in occult indoctrination, with another notable example being the ubiquitous Mickey Mouse as the sorcerer character with a crystal ball. As a current example, there is an electronic "learning" game called "Disney Princess, The Crystal Ball Adventure" (Ages 5-7 years).

Consider the popularity of the "Alice Through the Looking Glass" story, where the mirror is not only the communications portal but is used for travel between her world and Wonderland.

In the iconic Wizard of Oz, the fortune teller named Professor Marvel divines using a crystal ball in the "real world" opening sequence, and the wicked Witch of the West does likewise in the dream/fantasy world.

Outside the context of these occult "entertainment media" productions that corrupt us from an early age, there is the catoptromancy practiced by the State Oracle of the respected Tibetan Dalai Lama. The Dalai Lama consults the State Oracle, who divines while in a trance using the object you see on the right.

The internal device responsible for the choice of answers offered by the magic 8-ball is a regular 20-sided figure called a icosahedron. A similar icosahedron is used as the die in role-playing games such as Dungeons & Dragons, which is another popular introductory "game" for occult ritual practice. I found the following comment someone posted on Wikipedia interesting, too. "Using the Coupon collector's problem in probability theory, it can be shown that it takes an average of 72 questions of the Magic Eight Ball for all 20 of its answers to appear at least once." The number 72 is the number of stars surrounding the scene of the apotheosis of George Washington on the US Capital dome, representative of the fallen demonic entities involved in the ritual magic of regeneration.

Let's consider the other contents of Hogarth's dresser drawer. In front of the 8-ball is a compass, a device used to find direction. This compares to and highlights the 8-ball divination, because advice and direction is given by the oracle. The "E" direction is the compass heading from which the Messiah will come. The capital E is also the trident letter, a triple helix DNA signal.

There is a flashlight bulb, a source of light, symbolic of Luciferic illumination. This relates to the 8-ball divination also, from which is sought supernatural illumination.

There is a die with the three dots turned up, and three dots of what must be the "five" are exposed to our view on another face. The redundant show of 3 is another triple helix DNA cue, but don't let that be your lot in life! There's a die inside the oracle 8-ball that is marked particularly by three and five features. It has five triangular (5 and 3) faces meeting at each vertex. It can be represented by its vertex figure as 3.3.3.3.3 or 3⁵, and also by Schläfli symbol {3,5}. Coincidence, or purposefully done by the clever deceiver?

There is a black and flesh-colored PEZ dispenser, which is a candy dispenser that became popular as a toy in 1956-1957. The popular PEZ was a witch riding on a broomstick, although the one in the drawer appears to be a pink rabbit.

Appearing in back of the 8-ball is a button with the image of a rocket ship. This is for space travel to alien worlds, for ascending people from Earth into the heavens. Think about it.

There's a horseshoe magnet, which attracts - iron. Attracts iron. Did you get that? Attracts iron. This is the iron giant, right? Iron mixed with clay, Daniel 2. Attracts iron. It seems to have worked for Hogarth.

The last item of note in Hogarth's drawer of esoteric treasure appears to be a crosswords puzzle book. Can you figure out the puzzle of what the contents of the drawer mean?

Signaling the A113 Code

In the final chapter of this study, I'm departing from where I went in the original blog series. I had closed out with a focus on some imagery that evoked what I later came to refer as The Keystone Pattern. While that still seems valid enough, there's another code involved that I didn't recognize when I was blogging about it. So, in closing out this study, we'll focus on that - Code A113.

Some observant folks have called out a signaling of A113 that appears as the license plate number of a farm truck that the iron giant had taken a bite out of. It's a little obfuscated because most of the final number is missing, but license plates are where the A113 code is commonly found. Another A113 appears in The Iron Giant that's also pretty well obfuscated. It's hidden in an abstract art poster on a wall of the beatnik artist Dean McCoppen's junkyard home.

The designation of A113 appears in animated features and in some live-action films as an Easter Egg for industry insiders. It refers to a classroom at the California Institute of the Arts (CalArts), where filmmakers learn their trade. (See this blog post: The Mystery of Code A113) To us, it has a different shade of meaning. The lawless one will be revealed on the 13th day of the 1st month, on the Lord's calendar. This will be an immensely significant event, and this, beyond the superficial reference to CalArts, is what we see in the A(ntichrist)113 code.

This signal first came to my attention when the poster appeared briefly but conspicuously through an open door. It spoke to me of the keystone pattern, but it is also signaling A113!

In this scene, Hogarth is badgering Dean to persuade him to let the iron giant stay in his scrap yard. Dean is inside his office/domicile with the door closed and Hogarth is outside. When Dean finally opens the door, the poster is the featured interior element that comes into view. While this is the scene where it first came to my attention, some further review revealed that the poster had appeared in an earlier scene in such a way that supports my perception of it.

Here's the scene. Dean has just been introduced to the iron giant. He and Hogarth are sitting in the scrap yard watching the iron giant eat junk and discussing the situation.

Hogarth: "He needs food and shelter."

Dean responds by quietly standing up, giving him a stern look, going inside his office / domicile and slamming the door shut. A black title screen appears full screen, with a message in white text reading, "37 minutes later." It was meant to show how persistent Hogarth was being and how disinclined Dean was to have the iron giant as a guest. It's a TIME thing - like the keystone pattern, and like the Code 113.

Then we see Hogarth standing at the closed front door.

Hogarth: "You got plenty of room here. This place is perfect."
Dean: "Go Away."
Hogarth: "I can have him push the door down. You know I can!"
Dean: "Hogarth!"

Dean throws open the door, briefly exposing the poster.

Dean: "I, I, I can't hide it here."
Hogarth: "'Him' not 'it.'"
Dean: "Whatever. You don't even know where 'he' came from or, or what the hell 'he' is!"
Hogarth: "He's my friend."

The way I see it, the full-screen title "37 minutes later" is an alert to put us on watch. "Heads up - the subject here is the passage of an interval of time!" Right as Dean stammered, "I, I, I can't hide it..." - the poster was no longer hidden! Superficially, the 'it' being referred to was the iron giant, but here's something of note. Remember, the iron giant represents the beast whose revealing is signaled by the A(ntichrist)113 date/time code! And, there's this! Dean's stuttering signaled Code 666, which resonates with the A113 to add another powerful layer to the occult magic ritual! How so? The transformation goes like this. The letter I is the 9th letter. By inverting the numeral 9, it transforms to 6. By repeating "I" three times, the mark of the Beast Code 666 is evoked! Dean's stuttering also signals the 3rd eye(I), evoking Luciferian illumination.

Consider what Dean says, "You don't even know where 'he' came from or, or what the hell 'he' is!" Why use that kind of language in a movie made for children? Because there's an agenda, even an occult ritual. Think about it. What he, the iron giant is, is the Beast from hell. Hogarth says, "He's my friend." This actually leads the audience to recognize the hell beast as a friend. Sly. Evil! And this is the conversation heard while we're exposed to the A113 poster that signals the keystone and Antichrist time codes!

When will the hell Beast appear, when he's no longer hidden? See "When Cometh that Thief in the Night"!

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