2-7 It's 17 lines guys, for Nineveh -heavy, you can do it! "Easu" kills Nimrod! Nimrod, the great king, who became a mighty hunter for the Lord –from Babylon And the tower... The garment with which he prevailed over the whole land came from Cush stolen by ham from Noah Or something... but it was Noah's garment –is the point. Esau or Nimrod

And Nimrod dwelt in Babel, and he there renewed his reign over the rest of his subjects, and he reigned securely, and the subjects and princes of Nimrod called his name Amraphel, saying that at the tower his princes and men fell through his means. –Book of Jasher

"It is widely accepted that the words apocalypse, apocalyptic and apocalypticism derive from the Greek ἀποκάλυψις, meaning “revelation” or “disclosure.” Until the early 20th century, the word apocalypse was used more loosely to describe a cluster of deeply metaphorical prophetic texts such as Revelation and parts of Daniel. However, the sequence of discoveries of ancient documents culminating in the finding of the Dead Sea Scrolls (DSS) since 1947 caused a new perception of the diversity of Second Temple Judaism and its literature. This produced a necessity to define literary genres and movements with more accuracy, which led the Society of Biblical Literature’s Apocalypse Group (SBLAG) ... defined apocalyptic as “a genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherworldly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial insofar as it involves another supernatural world.”2 Because of its comprehensiveness and wide acceptance in biblical scholarship, this will be the working definition throughout this essay. Deriving from the SBLAG definition, some key features of apocalyptic can be outlined:
(1) Apocalyptic is marked by a complex network of metaphors and symbols. Jewish and Christian apocalyptic texts, for instance, are composed of traditional imagery from the Old Testament (OT) and widely–known mythological allusions.3 A crucial characteristic of this many–layered texture is the metaphorical language used to represent nations, races, and otherworldly beings by illustrating their typical character or behavior.
(3) Apocalypses present a dualistic framework for space—the earthly and the heavenly realms—and time—the present age and the age to come. In fact, the flow and relevance of a given revelation is found in the interplay between realms and ages. Only by facing both “sides” of time and space can one grasp the full significance of people, nations and events.
(4) Apocalypses have a particular interest in localizing their readers in history, and particularly with reference to the end of times. In this sense, past, present and future get a wider significance when narrated from a heavenly perspective, which results in the audience of an apocalypse knowing what kind of behavior is to be expected of them. Overall, there is a need for otherworldly revelation in order to endure a particular situation of distress and/or uncertainty." – A_Door_Standing_Open_In_Heaven Introduction