Writing Characters Of Copper

With a moderate amount of spiritual energy, a character becomes a character of copper. At this level, someone will have roughly half of the spiritual spectrum below them and half above them. A character of copper has developed a sense of love or compassion. As such, they are of a significantly higher frequency than the three base elements.

Copper has several noteworthy characteristics compared to the base metals of lead, tin and iron.

Most apparently, copper is colourful. Lead, tin and iron are all grey, but copper is a shiny reddish brown. This makes it desired. A necessary aspect of characters of copper is that they start to become desirable to other characters. Copper is described as a semi-precious metal. This reflects the fact that copper was once used as a currency.

Copper was associated with the goddess Venus in the ancient world. Hindu Yogis associate it with the heart chakra, from where people learn to express compassion. A character at the level of copper can begin to hear whispers of the Word of God. Consequently, they are able to follow their hearts, instead of needing to be led or directed.

In that copper occupies the centre of the spiritual ladder, it represents the union of opposites. In uniting above and below, copper serves as that which brings different elements together in joy. This gives it a harmony with the party-loving element of tin, only copper is less debauched. The characteristic action of copper is a man and woman coming together to make love – at the level of copper one no longer merely has sex, as the baser elements do.

The realm of copper, then, is the realm of courtship, chivalry and romance. This is the realm in which a physically dominant person begins to value something other than physical control. Here they learn to yield to people despite being able to kick their arses. It begins when rising spiritual energy cannot go further towards the masculine and so moves upwards and back towards the feminine. As such, it is where true compassion begins to enter the spiritual ladder.

It could be argued that boundary of the transition into copper comes when the physically dominant character realises that further advancement can only come in metaphysical realms. The character of copper learns that they can tactically choose to yield to the baser elements in the short term, for the sake of being better able to assert themselves in the long term.

The word copper gives us the word ‘capricious’, this being perhaps the characteristic quality of a beautiful woman, around who the world revolves in many ways. A character of copper, knowing themselves to have more value than the base elements, can become capricious if it goes to their head. A beautiful woman who knows that she is desired can come to make unreasonable demands on her suitors.

The combination of tactically yielding to the baser elements and being a beautiful woman suggests motherhood. The attitude of copper is the attitude of a mother towards her young child. The raw, biological essence of copper can best be appreciated by observing the lengths that the females of mammalian species will go to protect their offspring. The baser elements do not have a concept of self-sacrifice for a higher goal.

Thinking in these terms, the difference between copper and lead becomes obvious. A woman at the level of lead will breed without any concern for the well-being of her offspring, whereas a woman at the level of copper will make sure that any offspring she has are well cared for. In life history theory, this approximates very closely the difference between the r-selected and the K-selected.

The difference between copper and iron also becomes clear. A character of iron might be tough, loyal and honourable, but ultimately they fight for fighting’s sake. A character of copper, on the other hand, can have the aforementioned qualities plus the capacity to fight for a higher value. The character of iron finds their greatest expression in killing; the character of copper prefers to capture his enemies so as to ransom them off.

The characteristic neurotransmitter of copper is oxytocin. This is the “love drug” that leads to the formation of pair bonds. The formation of pair bonds creates a space for the higher elements to come into being. A character of copper will have a greater capacity for love than any of the baser elements. This capacity causes them to be cherished.

As is true with characters of iron, there is nothing stopping a character of copper being of either gender.

A male character of copper might be a chivalrous knight. Having proven himself in the realm of iron, the knight might have realised that further achievements in that realm are meaningless. As such, he aspires to achieve in a new realm – that of the nobles. Seeing the nobles display chivalry inspires him to imitate them.

A female character of copper could be a young mother or a striking beauty. If the former, her overriding concern will be the welfare of her family, which distinguishes her from the often neglectful or cruel mothers of the baser elements. If the latter, her beauty might be such that other men come to desire her so powerfully that they compete for her attention. In this sense, a female character of copper will invoke Aphrodite.

It’s worth noting that copper, although yielding to iron as tin does, does so in a different manner. Tin yields on account of that it is softer and is indifferent. Copper yields on account of that it takes a longer-term view. Where iron charges ahead out of rashness, and tin cowers back out of timidity, copper intelligently sums up the situation and makes the correct decision. This is a quality that copper shares with all of the precious metals.

If a character of copper is really a character of copper, they ought to be able to stay one step ahead of characters made of the baser elements. The baser characters might be able to get the jump on a character of copper, of course, but they must do so by underhanded means (or luck). Characters of copper can fight, but like characters of silver they prefer to find other ways to impose order upon the world.

The more precious elements still have an intellectual and spiritual edge over the characters of copper, however. The characters of copper might have intelligence and compassion, but at their frequency it’s hard for them to express either beyond the boundaries of the immediate family. Once issues of higher learning come into play, the character of copper has to yield.

Characters of copper love the idea of being matchmakers. Having risen above the baser elements, they are no longer motivated purely by egoic instincts. As such, they don’t get jealous when two other people form a pair bond. A character of copper, unlike the baser characters, understands that love and goodwill between two people makes the lives of all around them easier, and so they encourage it.

The archetypal situation of copper might be a middle-aged matriarch of the minor aristocracy arranging a marriage between her daughter and a famous knight. After a great party, involving many characters of tin who add a bawdy touch to provide a contrast, they all live happily ever after. It’s not until a character starts to value education that they enter the realm of silver.

This article is from Viktor Hellman’s The Alchemy of Character Development, the sixth book in VJM Publishing’s Writing With Psychology series. This book will show you how to use alchemy to create deep, realistic and engaging characters for your creative fiction.

If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2019 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2018 and the Best VJMP Essays and Articles of 2017 are also available.

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Conservative Parties In Every Western Nation Will Eventually Become White Parties

The National Party has revealed its party list for this year’s General Election, stoking outrage. In an age when it’s not okay to be white, the racial composition of their top ten list candidates is unrepentantly vanilla. This essay will argue that this outcome was not only inevitable, but is likely to intensify in the future.

In the age of social justice, racism is the Original Sin of the white race. The fight against racism, many believe, is one of the most pressing of all social issues. Anyone who doesn’t think so stands alongside Adolf Hitler as a public enemy motivated by sadism. Practically any action can be justified, no matter how ludicrous, if the intent is “anti-racist”.

The social justice warriors seems to think that the best way to fight racism is to minimise the number of white people in positions of power. The best way to achieve this is to oppose white people at every turn. Consequently, Labour and the Greens have become openly anti-white parties.

18 out of Labour’s 46 current MPs are non-white – 39% of the total. This is a much higher percentage than the percentage of non-whites in New Zealand, which is 29%. 11 of those 46 are Maori – 24% of the total. This is also a much higher percentage than the percentage of Maoris in New Zealand (16%). These figures are even more remarkable if one accounts for the size of the Maori presence in the New Zealand First, Maori and Mana parties.

There is nothing wrong with having Maori MPs (or white ones). But if the Labour Party wants to have a disproportionately high number of non-white or Maori MPs, then no-one can be surprised if their opponents in the National Party have a disproportionately low number of non-white or Maori MPs.

This essay predicts that things aren’t going to end there. The problem is that it’s now all but inevitable that National eventually becomes the white person’s party.

As diversity increases in any white country, the in-group solidarity of the white people in that country also increases. This can be extrapolated from known laws of social psychology. As the position of white people gets weaker, and closer to minority status, the more this in-group solidarity will intensify out of a concern to protect their position. Hence, the strongest white in-group solidarity is seen in places like Brazil and South Africa.

As all other Western counties become more like Brazil and South Africa, the white people in those countries will come to face a certain calculus: the more their local social democrat party becomes non-white, the more it makes sense for them to rally behind the local conservative party. This calculus explains why the National top ten is now all white.

This phenomenon is perhaps most advanced in America, where the Republican Party is now the White Party in all but name, while the Democrats are the Party of The People of Colour. The image at the top of this page shows the reality clearly.

If only non-white Americans voted in Presidential Elections, the Democrats would win every single Electoral College delegate. Something similar is true in all other Western countries – namely, that if only non-whites voted, the social democrats would always win. It is certainly true in New Zealand, as Dan McGlashan showed in Understanding New Zealand.

Conservatism has always been about maintaining the status quo. The logic is that things came to be the way they are by way of the collective applied wisdom of our ancestors. But if progress is equated with a smaller and weaker white presence, then conservatism will necessarily come to be equated with maintaining and protecting that presence.

The National Party top ten might be all white, but this is hard to avoid when Labour positions itself as the brown party. What’s also hard to avoid is that increasing anti-white aggression on the part of Labour and the Greens will intensify these sentiments, making National come to seem like the white man’s last stand.

What would really be a coup, from the perspective of Todd Muller, would be for National to take advantage of these pressures to win working-class whites to their side. If National accepted the inevitability of the grim calculus outlined above, they might realise the need to act upon it immediately, rather than be acted upon.

The Labour Party was founded by working-class whites for working-class whites, but its grip on that constituency has never been weaker. The Labour movement has turned its back on working-class whites all throughout the West, preferring to champion middle-class browns and blacks. This has made it highly vulnerable to being split in two, as it has been in places like Sweden.

The National Party could swoop in here – not from introducing racist measures themselves, but from winding back previously-introduced measures that were motivated by anti-white racism. A broad commitment to get rid of all policies based on skin colour and not need would be a good start.

If the National Party promised to scrap the Ministries of Maori and Pacific Island Affairs, as well as to scrap race-based education and health funding, as well as to scrap all race-based differential treatment in the Justice System, they would steal a march on a Labour Party that expects working-class white people to go to the back of the queue behind recent immigrants.

It would provoke fury from the globalist mainstream media, who are committed to propagandising for cheap labour and its importation. However, it might benefit National’s electoral chances, as did Don Brash’s Orewa speech in 2005. More importantly still, such a move is bound to entertain the gods, upon whose favour we all rely.

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Writing Characters of Iron

With slightly more spiritual energy in them, characters become characters of iron. This occurs when someone starts to value things other than simple pleasure. A character of iron has developed a sense of honour, which means that they have identified cowardice as an impurity and have sought to rid themselves of it.

A character of iron is tough. Iron is used here as a metaphor for that which endures. The nature of iron is to resist the wear and tear of the outside world. A man or woman of iron is one who takes a beating but keeps on moving forwards. An iron horse is another name for a steam train; an iron fist is what a boxer is said to possess if he regularly knocks out his opponents (or an iron jaw if he is hard to knock out himself).

Iron is yang energy applied to the raw physical.

Physical discipline marks out the character of iron. They are fit, strong, well-trained. Physical pain and deprivation do not trouble them. If anything, they raise the spirits of the man of iron, who knows that his capacity to endure it raises him above the other softcocks.

The spirit of iron was represented in antiquity by Mars, from where we derive the term ‘martial’. Mars was the Roman God of War, the physical expression of the masculine. Usually, Mars was only invoked in the presence of men. This means that if your character of iron is female, you will have to do more thinking to make her believable.

More esoterically, characters of iron are about order in the physical realm. Not only have they imposed order upon their own bodies, but they are also willing and able to impose order upon the physical world. The essence of iron is the kind of physical dominance possessed by an alpha chimpanzee or gorilla – the sort that makes weaker characters avert their gaze.

Iron became popular on account of that it was capable of keeping a hard, sharp edge. This hardness is characteristic. Whereas the softness of the characters of lead and tin sees them give way in stressful situations, the characters of iron hold fast. Being sharp, they are more dynamic than other characters. As such, a character of iron is particularly useful for getting a story started.

In the same way that iron is useful on account of that it can be made into tools, characters of iron are useful in the sense that they can achieve things. Characters of lead are too lazy and characters of tin too hedonistic. This means that characters of lead and tin tend to get order imposed on them by characters of iron (at least physically).

The archetypal profession of the character of iron is soldiering. The art of soldiering is all about making oneself hard like iron, and bearing tools made of iron to destroy one’s enemies. In practice, there are many types of men in the armies of history, but the men of iron constitute the most successful among them. The others are either too precious or too dull to truly excel in combat.

In your story world, a character of iron could also be a bouncer, a police officer or a professional sportsman. Anything where the prime objective is the imposition of physical order upon chaotic elements is the realm of the character of iron.

In principle, there’s no reason why a character of iron in your story can’t be female. In fact, the rarity of it might make for an especially interesting character, one that was less cliched than a male warrior. Red Sonja of the Robert E. Howard tales might be the best example of this.

Commensurate with their higher level of spiritual refinement, characters of iron have immense physical courage. A true character of iron will not back down from any threat or physical challenge. Like the Gurkhas of Nepal, this physical courage comes from a heightened sense that physical death is not the worst possible thing. The merely brutal men are more likely to come from the passionate realm of tin than the disciplined realm of iron.

There is a flipside, however. Iron is brittle, and it will break instead of bending. Whereas the character of silver is just as happy moving backwards as forwards, the character of iron tends to be stubborn and bull-headed. This is a good quality when they’re receiving a cavalry charge, but it’s a bad quality in peacetime, when it tends to lead to unnecessary fights and arguments.

In a sense, iron represents the archetypal primal masculine – the warrior and the hunter. It reached its apogee in the ancient world with the invention of iron weaponry, which easily defeated weapons and armour made of softer metals (let alone wooden spears and bone clubs). Iron is that which penetrates and pulverises. It dominates physically, but in turn it gets dominated mentally and spiritually.

Other characters might look down on the character of iron out of the belief that that they are vicious. The characters of iron don’t have the sense of chivalry possessed by the characters of copper, much less the sophisticated moral sentiments of the three highest elements. Consequently, their readiness for physical conflict makes them appear threatening to the others.

It’s true that characters of iron can have a pronounced dark side. Their physical superiority gives them the opportunity to get away with a variety of acts of cruelty, brutality and savagery. Although they are at their best in the fire of war, when the guns fall silent the head tends to become noisy. The effect of trauma on a character of iron can come to mean that they devolve into a character of tin or lead, and come to express dark energies.

The most sinister side of the characters of iron is perhaps expressed sexually. The man of iron is the typical rapist, rape being very much the order of things in a state of nature. The man of iron despoils women as much as he despoils the countryside. He might not be as impulsive as characters of tin and lead, but neither is he motivated by a desire to end the suffering of all sentient beings.

The character of iron is capable of great cruelty on account of what is known to Elementalists as the Conceit of Iron. This the name given to the fact that the character of iron tends to be physically dominant, and that it’s easily possible for them to confuse this physical dominance for the Will of God (i.e. to mistake their ability to force something on others with their right to do so). If a character in your story suffers from this conceit they are capable of anything.

On the other hand, characters of iron are capable of their own great virtues. Few are as loyal as the character of iron, for better or ill. A true man of iron, feeling no physical fear, can sit happily in a foxhole under artillery fire, knowing that such an environment would destroy all of the softer characters. Other characters might be able to outsmart them, but they can’t simply scare them off with a direct assault.

The real value of the character of iron is that the space they win through their courage creates an opportunity for others to grow, and perhaps then to achieve some of the higher positions on the spiritual spectrum. Following this, it may be that your character of iron is an elderly warrior, or a chivalrous one with a bit of copper in them.

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Clown World Chronicles: What Is A ‘Simp’?

Many people are getting called ‘simps’ nowadays, thanks to a marked rise in simping all across the world. Simping is another phenomenon that increases the further a civilisation decays, so in today’s West it’s all around us. This article explains what simps are and what role they play in Clown World.

Life in Clown World can be characterised by a lack of rectitude. Confucius considered rectitude to be the fundamental characteristic of the masculine, that which attracted the devotion of the feminine. For society to function, men have to have rectitude, because it is this quality that imposes correct order upon society.

In Clown World, men are no longer capable of rectitude. Now, like women, they exhibit devotion instead.

In some cases, gender role reversals can be healthy. But when the masculine principle comes to show devotion to the feminine principle, chaos can be the only result. Confucius spoke about this over 2,500 years ago, having observed that the feminine, being an expression of Nature, cannot order itself.

The masculine, being an expression of Heaven, can order itself. Its doing so is the virtue known as rectitude. In a healthy society, the masculine is esteemed for doing this, in the same way that the feminine is esteemed for devotion in a healthy society.

In Clown World, everything masculine is torn down with venom. Rectitude itself is shunned and mocked, seen as highly unfashionable. As such, there is nothing to correctly be devoted to. In the absence of rectitude, people become devoted to crude material pleasures and base instincts instead, and in doing so they lose touch with the spiritual.

One of the characteristic aspects of the Kali Yuga prophecised in Hindu eschatology is spiritual darkness. Leaders no longer take measures to promote spirituality in their lands, being more concerned with money and power. This absence of correct spiritual order is why Clown World is so rotten in so many aspects.

A simp is specifically someone who actively enables someone else’s bullshit on account of that they lack the rectitude to resist. Enabling is, according to this Psychology Today article, “offering help that perpetuates rather than solves a problem.” An enabler is someone who contributes to another person’s dysfunction.

A common example is a person who enables another person’s drinking by shouting them drinks, or who helps another person score drugs. Just about any vice can be – and is – enabled by friends, including any imaginable form of neglect or abuse. When this enabling is done by a person who should know better, it’s simping.

The archetypal example of a simp is a horny incel who donates money to a roastie‘s OnlyFans account. Society doesn’t really need 15-year old girls selling nude pictures of themselves over the Internet to sex-crazed old men, but the prevalence of simping means that there’s a niche for it.

It’s possible to simp for women, for blacks, for Muslims, Jews or Christians, for drug users, for homosexuals, for rednecks, for children – in principle it’s possible to simp for anyone who behaves poorly and who should know better. Any obsequious behaviour that tolerates that which should not be tolerated falls into the simp category.

That so much shitty behaviour is normalised in Clown World is because of all the simps out there. In a world with the usual amount of rectitude, shitty behaviour gets dealt to in short order. As rectitude declines, this behaviour starts going unpunished. By the time society has turned into Clown World, simping is widespread.

Simping is one of the main drivers of the Weimarisation of the West. As such, it is indirectly one of the main reasons for the rise of authoritarianism – too many simps lead to the dissolution of the social order, and when society falls into chaos people start searching for a man of iron to impose that order.

‘Simp’ is a noun, but it’s common to see it used as a verb. ‘To simp’ for someone is to enable their pathological behaviour. It’s often used in the present continuous tense, in forms such as “X is simping for Y”. It’s usually apparent from the wider context that ‘simp’ is a derogatory term.

It’s unclear whether the contemporary use of the word ‘simp’ derives from its original use in the 2000 A.D. comic strip. The simps in the 2000 A.D. series were passive, dysfunctional degenerates who lived in a cyberpunk dystopia, much link the simps today. The relation may be coincidental.

The difference between a soyboy and a simp is that the former are just weak, whereas the latter have enough strength to actively make the world worse. A soyboy can perhaps be forgiven for his weakness, but the simp is morally defective. Subsequently, his weakness has a much more corrosive effect.

This article is an excerpt from Clown World Chronicles, a book about the insanity of life in the post-Industrial West. This is being compiled by Vince McLeod for an expected release in the middle of 2020.

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