Decoding Disney's Wreck-It-Ralph

Aaron and I watched Disney's recent DVD release of the award winning Wreck-It-Ralph and talked about the excessive symbolism for days afterwards. “The film tells the story of the titular arcade game villain who rebels against his role and dreams of becoming a hero. He travels between games in the arcade, and ultimately must eliminate a dire threat that could affect the entire arcade, and one that Ralph himself inadvertently started.” (Wikipedia) Several days after we watched it, Joseph Herrin gave it some coverage on his Parables Blog, mostly interpreting the allegorical Satan vs Christ themes. There's some good observations and some good comments made on the post.

My decoding effort could slot nicely into the sodomite gateway series because there's so much of that symbolism throughout, but it stands well on its own. (What? Sodomy symbolism in a Disney film? That's not really surprising, is it?) If we camped on it long enough there's probably plenty enough material for a dedicated blog, but I'm not going there, not even to do a series (Lord willing). I had not planned to blog about this animated feature at all but the Lord was bringing it to my attention a couple mornings ago. The theme of the warrior bride of antichrist is played up, which was the subject touched upon a couple posts back regarding Lady Gaga's “Marry the Night.” This is a big deal now more than ever. If you're right now finding yourself in the midst of some intense spiritual warfare, the bride of antichrist is probably involved, on the attack.

Caveat: If you're a victim of ritual abuse who is still being delivered or you're easily offended by mature subjects and descriptive language, you may want to pass on this one.

This picture features Wreck-it Ralph and Vanellope Von Schweetz, the two main characters. Although there's no point in the plot where the big man and little girl literally become lovers, the love relationship that develops is a promotion of the kind that facilitates pedophilia. Young viewers are softened up to make easy targets for predators, standard fare for Disney productions. This is also an example of the gentle giant trope, where the appearance is intimidating so the manner compensates for it to warm us up to the character.

Familiar symbols mark the clothing that identifies Ralph as a homosexual. The orange of his shirt and the purple accent lines are signature elements of ritual sodomy. The button the purple line passes through is just a simple button, but given how a purple line bisects it, it's a sun wheel squared circle. The overalls are unbuttoned to expose his left side, which speaks of the left hand path. Exposing the left breast is a practice that is historically associated with the rites of initiation into the orders of the illumined. At some step in their ascension through the ranks of an order, the initiates are ritually sodomized to bind them to the group and illuminate them.

The outfit worn by Vanellope features a crisply pleated miniskirt, another ritual sodomy symbol. Forming a pleated ring around her waist, this is akin to the pleated bottom symbols of the sphincter-ringed anus that are the familiar peanut butter cups, marshmallow cups and cupcakes. I see this validated in the film by the obvious use of the cupcake symbol, when Ralph has one land on him in the Sugar Rush game that's kind of like the classic board game, Candy Land and like the new Candy Crush Saga. He is encased in the cupcake so he wears it like a suit.

(Hey, it seems doug successfully embedded an easter egg in the chandelier.)

Just in case we happen to miss that symbol they decorate it with hearts all around the pleated bottom. Ralph spins around with it a few times at one point to demonstrate the vortex of the chakra and stargate. When he falls over and becomes a helpless victim, two more characters confirm the symbolism even further. The lurking Wynnchel and Duncan rush over. “Now we got em!”

With a comedic play on the cops and donuts link, these donuts are a sodomite couple. These cops are into S&M, always using their nightsticks on Ralph. The names derive from donut franchises. Winchell's Donut House was big in California. “Donut” is a metaphor for “anus” in prison culture. Do an image search for Village People and you'll see the cop and biker model. Search this blog for Dunkin' Donuts and Krispy Kreme. We see these donuts in the scene below, standing behind the cupcake Ralph who has “assumed the position.”

They appear in the court of King Candy. The name presents the sodomite Masonic number 33 with the K=11 and C=3. KC=11*3=33. The 33rd is the top level of the public face of Freemasonry, and attaining it makes you something of a king. The KC is effeminate, light on his feet. Ralph calls his court's color pink and the King corrects him by calling it salmon. Gay. He's wearing purple tails. Purple. Tails. Right.

Ralph in the cupcake had been all green and you see him there with this green coating still on his hands. Osiris green. Identity: Osiris.

Ralph, the “lovable” abusive pedophile sodomite lives in a dump (defecation) and covers himself with bricks (dung). He puts his head on a stump, signaling oral sex. He's always falling in a mud hole (rectum) and in the Sugar Rush game it's always chocolate, another scatological metaphor. Word play on “duty” as fecal “doody” is an obvious plot feature as Vanellope engages Ralph at some length in juvenile potty banter. The arcade game called Hero's Duty (like Call of Duty) is where Ralph went to try to win a medal. There's more name calling and trading of insults heard in the movie but the scatological theme is pretty evident.

At one point, Ralph steals two cherries and smuggles them through customs. Because moving fruit across the border between games is illegal, these are forbidden fruit, making popular reference to the sin in the Garden of Eden. The cherry is slang for a virgin, and with Ralph as Satan this models the serpent stealing Adam's and Eve's cherries, their virginity, sodomizing them both. (See Who is Cain's Father?) You see, the Devil knows this - he was there! He boasts about it plenty, yet church folk remain almost entirely oblivious and in denial.

The name Vanellope sounds like “Vanilla Pee,” which compares to the frequent references in the film to chocolate poop. The flavor associations speak of how slaves are forced to consume bodily excretions of every kind as part of the litany of trauma inducing abuses that encourage dissociation. Vanellope is in the role of Ralph's child slave. “Ralph” means “Wolf Counsel.” He's a SRA programmer-handler, which is in keeping with his role as Satan.

The other Sugar Rush game characters nicknamed Vanellope, Glitch. That interprets to Switch, the alter switch. From the perspective of the multiple, switching alters disrupts the continuity of a perception of the timeline, so that glitching presents a window of insight into that experience. Her glitching allowed her to jump through space-time. Switching between alters provides access to resident psi powers, and this is the key to the success of multiples. Can some actually glitch like that? Well, yeah. Pretty much like that. It's sometimes called astral projection. In conjunction with Ralph's heroic sacrifice (as he fell to earth) Vanellope's glitching is what ultimately saved the games of the entire video arcade. The antichrist SRA and slave saviors, right?

It turns out at the end of the movie that she is actually a princess, royalty, and therefore a chosen one, which is a multiple that is of a royal Illuminati bloodline. Monarch programming.

Vanellope's glitching began when King Candy hacked the game code and reprogrammed her. Here's the obvious metaphor of game character programming as mind-control programming. Vanellope's programming was changed, her code was rewritten. The code of other characters was rewritten at the same time. Their memories were locked away in this programming, so they forgot Vanellope was princess and henceforth identified the programmer as the King, their master. For Monarch slaves, locking memories away happens every time there's a programming event, and some of the programming imprints new ones. The game code is the Illuminati programming script.

King Candy plays an important role, who is himself a programmed alter identity. Typical slave-handler-programmer. At the end we discover he's actually Turbo, from the defunct game Turbotime. He's actually a legendary rogue character from out of the past, considered long gone. We learn that “Going Turbo” means game jumping with intent to hijack the game. If the fallen angels as ancient gods come to mind, you're on the right track. Turbotime was his game, and we see in this a picture of the Antichrist, returned as an ancient god from out of the distant past. Here's yet another example of Monarch programming and Antichrist Beast symbolism appearing together, with one wrapped around the other.

The game jumpers represent dimension jumpers, the sodomite gods. This is evident from the turbo that references an energetic vortex, the stargate and emblem of ritual sodomy and Eye of Horus enlightenment. When King Candy (33) glitches/switches to his Turbo alter, we see him wearing a white helmet with a big red T on it. The T: Anal triangle. The helmet: Glans penis. Sodomite. He assumed the role of King in Sugar Rush. He's the Antichrist, substituting himself on the throne of authority. He later takes another form, as the image of the Beast. He merges with a psy-bug (dragon) and transforms into a flying hybrid. Beelzebub, Lord of the flies, or, of them that fly. Prince of the power of the air. He is then destroyed by the light, as not by “human” hands. That light was associated with a mixing of “Diet Soda Hot Springs” and mentos, a symbolic lake of fire. Fitting image. You're familiar with Revelation 17 and following, right?

The titular arcade game is all about Wreck-it Ralph and Fix-it Felix. They are together as Shiva, destroyer (Wreck-it) and creator (Fix-it) of worlds. That's the Illuminati programmed game play. Ralph is like Apollyon or Abaddon, the destroyer. Felix has a magic hammer, given to him by his father. He is a type of Thor. There are scenes where Felix-Thor appears with his magic hammer on a rainbow bridge (Bifröst), which features heavily in the Sugar Rush action. Thor is also an Antichrist identity. Fix-it Felix equates to 666 as FIF. With F=6 and I-9 FIF is 696, and since 9 flips to 6, 666.

Felix gets married at the end of the movie. This antichrist bridegroom takes a bride, the Bride of Antichrist. Here's a picture of the wedding, with the wedding party at the altar of the sun.

The stained glass window backdrop is a sun god image and a squared circle anal portal, sodomite orange, of course. The lights you see on it are the laser sight beams of Calhoun's soldiers, the Bride of Antichrist army, who are sighting and illuminating their potential targets. Think about that.

Sergeant Calhoun is the star of Hero's Duty. Hero = Antichrist Beast. Hero's “Doody.” She's a sodomite SRA slave. Her name is Calhoun, and her name means “Warrior.” She is a sodomy programmed supersoldier, a Delta, an assault leading specialist. She's usually wielding a gun, a phallic symbol. She's got a sexy feminine figure. She's a Beta programmed sex kitten who seduces Felix with her looks. She's an abusive woman who demeans men like a marine drill sergeant, and brings them under subjection, even slapping them around. Butch. Jezebel.

Here's a screenshot from a comedic romantic scene. The purple heart. Sodomy. Both of them are inside, and she wields and fires the phallic gun. Slaves are commonly sodomized with guns and knives. See the helical windings? This is a genetic signal of reproductive sex magick. Ritual sodomy, reproductive sex magick, Antichrist and Bride of Antichrist. Below them is Nesquick sand, quicksand, chocolate poop, into which they had fallen. Their exit involved Felix ordering Calhoun to do her duty. That would be a #2, if you're tracking the doody theme. Her duty was to punch Felix hard in the face over and over, to roughly abuse him, in the Nesquick sand pit. SRA sodomy abuse, trauma leading to dissociation, their way of escape. They found themselves in a surreal scene of singing laffy taffy. Somewhere over the rainbow.

There's many, many more sodomy signals in the movie, and I'll illustrate just a few more.

This image is of a medal Vanellope made and gave to Ralph. On one side, it says he is her hero. On the other, “To Stinkbrain.” It's a heart-bottom. There's a purple band coming out of it. It's brown inside. The “o” in “to,” that's, well, you get the picture. He is her hero stinkbrain, her handler, enlightened with gnosis through ritual sodomy.

When Ralph is helping Vanellope learn how to drive her new racer, the scene is set to a Rihanna song, “Shut up and Drive.” The lyrics are racy, to use an appropriate figure. The sexual innuendo is obvious as she herself is the vehicle to be driven.

I've been looking for a driver who is qualified
So if you think that you're the one step into my ride
I'm a fine-tuned supersonic speed machine
Got a sunroof top and a gangster lead

So if you feel it, let me know, know, know
Come on now, what you waiting for, for, for?
My engine's ready to explode, explode, explode
So start me up and watch me go, go, go, go

Get you where you wanna go, if you know what I mean
Got a ride that's smoother than a limousine
Can you handle the curves? Can you run all the lights?
If you can, baby boy, then we can go all night

'Cause it's 0 to 60 in 3.5
Baby, you got the keys
Now shut up and drive, drive, drive
Shut up and drive, drive, drive

I got class like a '57 Cadillac
And overdrive with a whole lot of boom in the back
You look like you can handle what's under my hood
You keep saying that you will, boy, I wish you would.

Ralph is the handler and Vanellope his slave. Can you run all the lights? Can you illuminate her? The sodomizing handler has the keys, the slaves access codes. Class rhymes with something anatomical. and “a whole lot of boom in the back” suggests A-wHOLE lot of boom in the back. If you can “handle the curves” or “handle what's under my hood” - you're her handler. What's under her hood is the hidden or secret programming. “You keep saying that you will, boy, I wish you would.” It's all about his will because he's the slave's master. The official music video makes it plain enough through Rihanna's gestures that this innuendo is all leaning towards anal sex. The song length: Length 3:33.

“Swizzle Malarkey is a character within the game Sugar Rush. His theme is Unicorn Pops and various other lollipops, and his signature kart is the Tongue Twister. On the online adaptation of Sugar Rush, both he and Gloyd Orangeboar are unlocked by completing the second track, Cakeway.” What a sodomy NLP laden description! Malarky = BS. The swizzle stick is a phallus, and using a swizzle stick to stir a drink creates a vortex. Unicorn Pops, another sodomy reference. To pop is to have sex with. The unicorn with the spiral horn is a third eye power cone magical god beast linked to homosexuals. The Tongue Twister. Gross. Gloyd Orangeboar. Orange is a signal sodomy color. Orange-boar = orange bore. Gloyd presents the unusual GL combo that speaks of girl love, pedophilia.

Even the closing credits of the movie are signaling ritual sodomy. The following image appears with Sonic the Hedgehog making a cameo appearance, appearing during a song precisely while the word being sung is "bonding."

Bonding is a notable feature of sodomy. Sonic circled the square, signaling the alchemical symbol for ritual sodomy.

I've more than scratched the surface of what's there in this Illuminati programming vehicle but there's plenty more there. The slick production is just so sly. This animated feature carries on the Disney tradition, programming another generation of children as the Bride of the sodomite Antichrist.