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The Language of Lyrics – Analysis of Rush’s "Force 10"



You have written a great tune with an interesting rhythm structure and a catchy vocal melody. You now need to write words to accompany your song. When I was a freshman in high school, I analyzed Rush’s “Force 10” off of the album Hold Your Fire. In the process, (with my Hold Your Fire t-shirt on and a poster of the three men I admire most hanging off the chalk board), I gave a speech about the eight literary devices that constitute well written poetry or lyrics. They are onomatopoeia, alliteration, similes, hyperbole, personification, rhyme, assonance, and metaphors.

I chose “Force 10” because it contained all eight literary devices and hence I received extra credit for my speech. I will define these literary devices and give examples.

Onomatopoeia is the first literary device used in the intro. Onomatopoeia is a word that imitates or suggests the source of the sound that it describes. The opening ahhh, an onomatopoeia, lasts for about 15 seconds. It sets the tone of the song as a song that requires endurance. The second device presented is alliteration. Alliteration is a literary or rhetorical stylistic device that consists in repeating the same consonant sound at the beginning of several words in close succession. “Tough times demand tough talk demand tough hearts demand tough songs demand… ” The repetition of the words tough and demand puts emphasis on the need to take control of any undesirable situation and turn it around for a favorable outcome.

Neil Peart immediately states the fallibility of the human condition with “We can rise and fall like empires, flow in and out like the tide”, which is a simile. A simile is a figure of speech comparing two unlike things, often introduced with the word “like” or “as”. He is comparing our ability to achieve and fail to the collective effort of an empire and to the intense strength of Mother Nature. He follows up his comparison with “Be vain and smart, humble and dumb, we can hit and miss like pride” to further emphasize how we can be “vain and smart” like the force of empires at their peak or humble and dumb when they are destroyed.

The next line, “We can circle around like hurricanes” is an example of hyperbole. When used as a literary device, hyperbole is an exaggeration that, while not intended to be taken literally, still describes a situation or image that is at least feasible or possible. This lyric emphasizes how we as humans can be disorganized and chaotic like a storm that sweeps through and destroys randomly. Or we can “Dance and dream like lovers” is the other side of the coin, which states that when we are happy; we express emotion with joy and creation. “Attack the day like birds of prey” again refers to tunnel vision accomplishment without regard to who may be hurt along the way. “Scavengers under cover” is the fear that we feel when we cannot provide for ourselves and be autonomous.

After the first two verses, the chorus states “Look in- To the eye of the storm.” It is the first example of personification. Personification is an ontological metaphor in which a thing or abstraction is represented as a person. Storms do not literally have eyes, but do have a focal point in which their force is the strongest as looking someone in the eye is most direct way to approach a person. “Look out-for the force without form”. The song goes on to caution us to be wary of our surroundings, “Look around- At the sight and sound, look in look out look around.”

In the third verse, there are examples of both rhyme and assonance. A rhyme is a repetition of similar sounds in two or more words (most often at the end of the phrase) and is most often used in poetry and song. Assonance is a refraining of vowel sounds to create internal rhyming within a phrase or sentence.

“We can move with savage grace to the rhythms of the night

Cool and remote like dancing girls

In the heat of the beat and the lights”

This verse emphasizes how we can be concealed within our own introspection. Focused on the music of nature, night rhymes with lights to give contrast between the natural rhythms of nature and the artificial lights of an enclosed club environment. “In the heat of the beat” is an example of assonance. This quickly sung lyric with internal rhyme shows an impulsive and emotional response to music.

The last verse compares “the rose of romance” to “an air of joie vivre” or “the joy of life” as a metaphor. A metaphor is a figure of speech concisely expressed by comparing two things, saying that one is the other. This comparison equivocates, a flower associated with love to the joyousness of life. Neil Peart elaborates on the comparison, “too tender hearts upon our sleeves” meaning that to love is to make one’s self vulnerable, and contrasts with the simile “skin as thick as thieves.”

The bridge is another example of hyperbole, “rising and falling at force ten, we twist the world and ride the wind.” Force ten is exemplified as being a force beyond our three dimensional existence as to literally twist the world would require power beyond our current knowledge.

I have used these literary devices to write my own songs. It is helpful to be aware of these techniques to write great lyrics. In a case of writer’s block, literary devices are fun tools to play with. For example, another Rush song that is specifically a play on literary devices is “Anagram.” In this song, Neil cleverly wrote it to be a play on words and the song is actually quite fluent. The chorus states, “There is no safe seat at the feast, take your best stab at the beast, the night is turning thin, the saint is turning to sin.” The chorus alone uses alliteration, metaphors, rhyme, and personification… Neil Peart shows the use of these devices will always appeal to the ear of the listener, and so, with all that being said, let us close with a thought… Let us not be misfits in the mist of our fits… Let us never challenge ever for a never ending end and receive what we believe we can achieve in our midst amidst the mist.

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MapleStory Guide – Anego




Anego (aka Female Boss) is a popular boss in Showa. It spawns in the third map of the Showa mansion, surrounded by its vastly weaker minions. It is a formidable foe, with very high attack power, defence and speed.

So let’s have a look at what Anego’s capable of. Anego has two main attacks plus a rather high touch damage of about 10,000-11,000, a fairly long range gun attack dealing around 5,200 and lastly, a short range slap dealing roughly 18,000. If you’re melee without a ridiculous amount of hp washing, then I know what you’re thinking. Some other things about Anego, it has very high defence and moves extremely quick.

So with such high damage how does anyone kill it? Luckily Anego suffers a “glitch” so to speak, which will be explained in detail below.

HP: 75,000,000

Minimum HP: 19,000 (Melee) Any (Ranged)

Now to talk about that “glitch”, if you attack Anego and run back to the portal, you’ll notice Anego is unable to follow all the way to the left. This is due to a pathing issue in the maps layout, near the edge of the bar stool is an invisible barrier for Anego, which it is unable to pass. Obviously that makes the entire left side a perfect sniping spot! Basically every single ranged class can make use of this and this is also the basis for party kills of Anego. The spot where you’ll want to stand is directly in front of the couch near the portal, if you edge past this you may be hit by Anego’s gun attack, but the slap will miss you by miles.

For melee it’s not so easy, the only viable way to fight Anego as a melee character is to corner it and tank it, burning potions while pounding away. Obviously you need 19,000hp before even considering this.

As a side note, it is possible to berserk Anego as a Dark Knight, but is difficult to do effectively. Lure Anego to the bar stools, and attack while jumping. If timed right you will not be hit by the slaps while still hitting Anego.

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WoW Bot – InnerSpace Guide




First off, I’d like to explain some terms. Innerspace is an operating system, not a bot. Many people will be peeved if you say that. Openbot is a program/plugin/whatever that runs on innerspace. Openbot is a bot. Get these down and you’ll save the openbot vets some hair.

Innespace is NOT free. And I did’t find a crack yet. Yes you will need to pay for it if you’d like to use it. It will cost you $10 for a 3-month subscription. This is cheaper than glider elite. If you’d like to subscribe to use this bot register an account, and subscribe from there.

Once you have an account subscribed, you can start this guide.

-Setting up Software-

1. Download and install the latest version of Innerspace.

2. Download the latest version of ISXWoW and ISXWarden. Always keep these up to date!

Install ISXWoW by running the installer if you downloaded that, or if you downloaded the zip, extract ISXWoW.dll into the Extentions folder and the other files into your Interface folder.

Install ISXWarden by simply extracting the .dll to the Extensions directory of your Innerspace installation.

3. Launch innerspace, right click on the little crosshairs icon, and click configuration.

4. Click on the “Game Configuration” tab and select World of Warcraft from the dropdown menu. Click Startup.

-Ingame Openbot Setup-

1. Once Innerspace is loaded with WoW and you’ve checked ISXWarden to be okay, log ingame and bring down console again.

2. Type into console:

run openbot/openbot

This should load the ingame interface.

Going into the rest of the steps for Openbot Configuration takes a lot of detailed explanation. By way of a quick search, you would find that the full steps are available at most sites offering WoW Bot and other gaming tools.

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Whistler Via Ferrata – Terror And Elation While Climbing The Iron Way




“Okay, we’ll stop here and pull out our ice axes and crampons,” announces Jeff, our guide for the afternoon. He slides off his backpack and dumps it in the snow at his feet. I shrug my pack off and marvel at how I can be so warm while standing at the foot of Whistler mountain’s high alpine glacier. True, back at the Adventure Hut I had added a few layers of clothing after noticing the wisps of snowflakes drifting from the sky.

But now, an hour later and a brisk hike among the white-laced rocks, I was sweating. I ask my best-friend Amy if she’d like a swig of water. She nods and I dig the bottle out of our pack. I also pull out a couple energy bars to quell the rumbling in my stomach. I must have anticipated it would be a few hours and a few hundred feet until the next meal.

You can’t find this quiet anywhere near civilization.

Amy and I munch loudly in the natural stillness. It’s the silence that allows you to finally hear what every other animal must hear, every insect, as they go about their business in the absence of human activity. It feels as old as the earth and indifferent as the mountain itself.

Jeff instructs us on fitting our crampons; basically spiked metal shoes that are essential for glacier-walking. I’d never heard of them before this moment – before we’d decided to attempt Via Ferrata, “The Iron Way” – a tour offered by Whistler Alpine Guides Bureau. First developed by Italian soldiers during World War I, the activity consists of rock climbing via an engineered vertical pathway, utilizing permanently fixed cables and metal rungs for movement. (Or that’s how it works in theory anyway).

All three of us tie each other together with elastic rope. “In the fresh snow, it’s difficult to spot the crevasses in the glacier,” says Jeff. I envision a moment of plunging into an icy abyss and make sure my the rope is tightly clamped to my waist before we head out. Our crampons dig into the ice with assuring crunches. Like a blind man with a cane, Jeff pokes his ice axe in the snow to detect any cracks.

Soon we are standing at the foot of the climbing path.

A lone ladder is tied to the rock, stretching upwards to the first ledge, followed by metal rungs continuing upwards as if staples left by a giant. We remove our crampons and secure our ice axes to our backpacks. Jeff graciously goes first, gliding up with ladder with only the barest use of hands. Amy goes next, a little slower. I wait at the bottom of the ladder, peering at the surrounding boulders for any glimpse of the hoary marmot, (for which Whistler Mountain was named), known for its distinctive high-pitched whistle.

The ladder quivers. I look up and Amy is perched at the top, one hand outstretched to the first metal rung. She’s hesitating. “You okay?” I call up to her. “I’m not sure about this,” she answers flatly. “I don’t think I can do it.”

Jeff is a few feet higher, hanging from the rock like a confident gibbon. “It’s cool, just take your time,” he says. I wonder how many times he is confronted with this exact predicament. “My heart is pounding…” Amy answers, her voice cracking. Jeff is reassuring. “It’s quite safe, really. You’d be surprised at what you can do.”

There’s a defining moment in the air.

Amy must choose whether to attempt the shaky descent down the ladder, shrink from the pounding of her heart, and feel like she’s ruining the experience. She’s skimming over in her head how she’ll walk back down the glacier in stinging defeat, head to the Adventure Lodge and wait for us to complete the climb.

Jeff and I will arrive, tired and elated, and we’ll talk about how incredible it was to scale the peak, to feel the hard stone beneath our fingers, marvel at the tiny plants that make a home on these eternal stone. I’ll tell her how the vast view of the surrounding mountains was enough to silence any internal debate about the existence of an intelligent hand guiding the universe, or if not intelligent, than the incredible luck to emerge on a small beautiful ball drifting in a beautiful universe.

But Amy doesn’t choose such a fate for herself. She quells her beating chest, strengthens her resolve. She firmly grips the first metal rung, that giant’s staple lodged in the rock, and pulls herself over the lip, her feet dangling for a second before gaining a toehold. Fear and gravity are thwarted. She looks back down at me and smiles.

I climb the ladder and feel a bubble of adrenaline rise in my throat. But whether I’m aware of the true danger, or I possess a certain flare for attempting the unordinary (which happens less often then I’d like), I have little difficulty in crossing the threshold. All three of us begin our climb. The basics: always keep your belt ropes clamped on the safety line running parallel to the metal rungs, and only one person per increment of safety line. This prevents falls for more than 6 feet at once. A comforting thought.

Unhook, reach, lift, hook. Unhook, reach, lift, hook.

The steady rhythm takes on a momentum of its own, almost like meditation. I immediately understand why frequent climbers talk about being “in the moment” while scaling a sheer rocky face. There is little to think about when the mind must navigate an ever changing vertical terrain, constantly readjusting weight here, balancing a foothold there, like deciphering a rubix cube. The minutes drift away and the glacier below grows ever smaller.

Eventually, we arrive at the summit. The clouds part and the sun greets us warmly. We wander among the snow drifts as if emerging into another land, as if explorers entering the gates of Shangri-la. Only there are no gold tapestries, chests of jewels, or eternal youth here, only the satisfaction of conquering a thumbnail of earth on one Saturday morning in September.

~ Via Ferrata is offered in Whistler daily from June 24 through October. This thrilling activity is suitable for guests of all abilities and does not require any special skills or prior experience. All technical equipment is included. Your guide will give detailed instructions on use of equipment and technique for climbing.

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