#2nd millennium
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lackedthings · 2 months ago
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Millenniums of 1001 and 9999
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blueiscoool · 4 months ago
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Ancient European Bronze Age Bronze Armlet Bronze Age, 2nd millennium B.C.
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alphamecha-mkii · 4 months ago
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Star Wars: X-Wing (2nd Ed) - Hotshots and Aces II Reinforcements Pack Cover Art
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octavio-world · 6 months ago
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girl: i better not see u being Standing Figure. 3rd–2nd millennium BCE when i get there me opening the door:
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mapsontheweb · 1 year ago
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The world of Abraham, 18th century BC.
via cartesdhistoire
Source: « Histoire universelle des Juifs », Élie Barnavi, Hachette, 1992
Abraham, the father of monotheism, is with Isaac and Jacob one of the three patriarchs who founded the Jewish people. The biblical story of Genesis describes the wanderings of the Patriarchs across the Fertile Crescent, from the mouth of the Euphrates to the land of Canaan. The Bible places the Patriarchs in space but not in time, even if we can assume that Abraham lived in the 18th century. av. AD
Judaism constitutes the first expression of monotheism, but this appearance, far from being sudden, was the result of a slow evolution. Already in Mesopotamia, each state favored one deity among the many that populated its pantheon. In Egypt, the pharaoh Akhenaten (1353-1337 BC) had decided to worship only the god Aten and to do so had launched a vast iconoclastic campaign intended to eradicate all traces of worship of the god Amon. Here we see the outline of a shift towards henotheism, namely the idea that if there are several divinities, one of them is superior to the others.
From henotheism comes monolatry, namely the fact of worshiping only one god without denying that there are others. The development of henotheism stems from a form of nationalization of the gods which was notably encouraged by the Achaemenid Persians within their empire. In the biblical story of the Exodus, the alliance that the prophet Moses concluded with Yahweh was conditioned by the latter on the fact that the people of Israel made him their sole and exclusive god and renounced honoring others, which clearly shows that the existence of other gods is then recognized.
It was only around the 6th century. av. BC that Judaism asserts itself as a monotheism, that is to say that it postulates the existence of a single and universal god and therefore considers any other religious belief to be false. The true innovation introduced by monotheism is not so much the idea of divine unity as that of exclusivity and, with it, of truth.
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corey-45 · 7 months ago
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Goliath and Philistine warriors with young David and the Israelite camp in the background (as told in 1 Samuel 17), circa late second millennium BC; painting by Jeremy B. Raben.
Source:
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1whimsicalgal · 1 year ago
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Lauren Bergman's painting and Vimeo are based on one of the most harrowing images I have ever seen from WWII.
"Title: WWII / Persecution of Jews in Liv, Ukraine / Photo, 1941.
Caption: History / World War II / Ukraine / The Holocaust. German occupation of Ukraine. Liv (Lemberg), 30 June 1941. Mass executions of Jewish inhabitants by auxiliary troops of Ukrainian nationalists shortly after the capture of the town. Agitated inhabitants abuse a Jewish woman. Photo, 1941.
Credit: Album / akg-images
Releases: Model: no - Property: no Rights questions?
Image size: 3171 x 4065 px | 36.9 MB
Print size: 26.8 x 34.4 cm | 10.6 x 13.6 in (300 dpi)
Keywords:
I
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alteredphoenix · 1 year ago
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A clear memory I have, when working on That Old PMMM/Sailor Moon Fusion AU fic (as in: it's a fic where in this AU the PMMM girls were reborn part and parcel with the Guardians after the Fall of the Silver Millennium), was coming up with a short story about a group of assassins that jumped through time and dimensions that tied into the modern day setting.
The second POV character I made the reader (because the first is a male POV) followed was an OC, and the guy she's walking down the hall with recalls how there were rumors about her being the bastard daughter to Queen Serenity a'la "she fucked around after her husband passed away" because she had silver hair and having that was usually the go-to mark for being part of the royal family.
I never did finish that story, and it's buried away somewhere in the USB Drive (EDIT: NEVER MIND FOUND IT), but she was the head of the group meant to look for two girls in the modern day that were pretty much Madoka and Homura who were...basically constructs of magic born from both Ultimate Madoka and Devil Homura from the PMMM Canon AU but without the godhood attached that were given human form but over time gained free will (and were essentially watched over by an unknown female benefactor named Lady Iris, who was actually an aspect of Queen Serenity who existed beyond the confines of space-time - she was basically the fic's equivalent of a Force Ghost). I don't think I even remember what the goal was once they found them but there was an element of "I'm getting back at the assholes that called me a motherless bitch, and I'm taking it out on Queen Serenity's girl and her squad even though they had nothing to do with my misery", and Not!Madoka and Not!Homura would...eventually find out that they're more than just regular schoolgirls that are able to live on their own and dream of hitting up Akihabara and Shibuya to See The Sights (because they're unconsciously aware they're god-beings but at the same time consciously aren't). The girls would've eventually be protected by the Guardians, who'd be butting heads with both the assassin group and Devil Homura (who's eating up her AU selves who are magical girls like fucking candy for More Power so she can curbstomp Kyouko and Sayaka, who are blessed with the last fragments of Ultimate Madoka's power and on the run, and drag Madoka back into their world, who managed to break out of it, and sit nice and pretty and not worry about all that magical girl shit).
It's...a very complicated AU I've made lol
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panicinthestudio · 2 years ago
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Shrine of Hori, late 12th or 13th Dynasty, ca. 1800-1700 BC
Middle Kingdom, presumably from Abydos, Egypt
Limestone
H 49 cm, B 39 cm, T 25,5 cm
This shrine is a miniature memorial chapel which was erected in honor of the god Osiris at Abydos. The figure in the niche depicts Hori who dedicated this shrine for the benefit of his family, as well as himself, so that all might participate in the Osiris mysteries. The incised figures to the left and right of the niche depict family members; yet more are mentioned. Collection of the Kunsthistorisches Museum, Wien
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Shrine of Hori, Egypt, 1800-1700 BC
from The Kunsthistorisches Museum, Vienna
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2seeitall · 2 months ago
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The Temple of Aphaia (Aegina), Greece
The nymph Aphaia was worshipped on the island of Aegina (Aigina) since the 2nd millennium BC, and only there. She was thought of as the daughter of Zeus and was similar to the virgin goddess Artemis. Like Artemis, Aphaia protected women in childbirth. Her temple was a place principally of female cult.
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blueiscoool · 1 year ago
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A BRONZE FIGURE OF A BULL, PROBABLY CRETAN CIRCA LATE 2ND MILLENNIUM B.C.
With large forward-curving horns, wide-set ears, and long straight tail falling down to a broad horizontal strut connecting the back of the hind legs, grooved linear ornament on the body. Length 12.5 cm.; Height 12.2 cm.
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ltwilliammowett · 3 months ago
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The Mast
One of the most important elements of a ship are the masts, because this is where the sails are attached that serve to propel the ship.
History
The oldest evidence for the use of one solid masts comes from the Ubaid site H3 in Kuwait, which dates back to the second half of the sixth millennium BC. There, a clay disc was recovered from a sherd that appears to depict a reed boat with two masts.
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A painted clay disc with a diameter of 6.5 cm from site H3 with a design reminiscent of a boat with two masts, second half of the sixth millennium BC
In the West, the concept of a vessel with more than one mast to increase speed under sail and improve sailing characteristics developed in the northern waters of the Mediterranean: the earliest foremast was identified on an Etruscan pyxis from Caere (Italy) from the middle of the 7th century BC: A warship with a furled mainsail attacks an enemy ship and sets a foresail. An Etruscan tomb painting from the period between 475 and 450 BC depicts a two-masted merchant ship with a large foresail on a slightly inclined foremast.
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Tomb of the Ship, mid-5th century BC
An artemon (Greek for foresail), which is almost as large as the main sail of the galley, is found on a Corinthian krater as early as the late 6th century BC; otherwise, Greek longships are uniformly depicted without this sail until the 4th century BC. In the East, ancient Indian kingdoms such as the Kalinga are thought to have been built in the 2nd century BC. One of the earliest documented evidence of Indian sail construction is the mural of a three-masted ship in the caves of Ajanta, which is dated to 400-500 AD.
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This Ajanta mural depicts an ancient Indian ship with high stem and stern and three oblong sails attached to three masts. Steering-oars can also be seen. Location: Cave No. 2, Ajanta Caves, Aurangabad District, Maharashtra state, India, 400-500 AD
The foremast was used quite frequently on Roman galleys, where, tilted at a 45° angle, it was more like a bowsprit, and the scaled-down foresail attached to it was apparently used as a steering aid rather than for propulsion. While most ancient evidence is iconographic in nature, the existence of foremasts can also be inferred archaeologically from slots in the foremast feet, which were too close to the bow for a mainsail.
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Fragment of mosaic depicting "navis tesseraria", a messenger and police boat of the African fleet, 2nd century AD
The artemon, together with the mainsail and the topsail, developed into the standard rigging of seagoing vessels in the Imperial period, which was supplemented by a mizzen on the largest cargo ships. The first recorded three-masters were the huge Syracusia, a prestigious object commissioned by King Hiero II of Syracuse and developed by the polymath Archimedes around 240 BC, as well as other Syracusan merchant ships of the time. The imperial grain freighters that travelled on the routes between Alexandria and Rome also included three-masted ships. A mosaic in Ostia (around 200 AD) shows a freighter with a three-masted rig entering the harbour of Rome. Specialised ships could carry many more masts: Theophrastus (Hist. Plant. 5.8.2) reports that the Romans brought in Corsican timber on a huge raft propelled by up to fifty masts and sails.
Throughout antiquity, both the foresail and the mizzen were secondary in terms of sail size, although they were large enough to require full rigging. In late antiquity, the foremast lost most of its tilt and stood almost upright on some ships.
By the beginning of the early Middle Ages, rigging in Mediterranean shipping had changed fundamentally: The spars, which had long since developed on smaller Greco-Roman ships, replaced the square sail, the most important type of sail in antiquity, which had virtually disappeared from the records by the fourteenth century (while remaining predominant in northern Europe). The dromon, the rowed bireme of the Byzantine fleet, almost certainly had two masts, a larger foremast and one amidships. Their length is estimated at 12 metres and 8 metres respectively, somewhat less than that of the Sicilian war galleys of the time.
Multi-masted sailing ships were reintroduced to the Mediterranean in the late Middle Ages. Large ships became more common and the need for additional masts to steer these ships appropriately grew with the increase in tonnage. Unlike in antiquity, the mizzen mast was introduced on medieval two-masted ships earlier than the foremast, a process that can be traced back to the mid-14th century based on visual material from Venice and Barcelona. To equalise the sail plan, the next obvious step was the addition of a mast in front of the main mast, which first appears in a Catalan ink drawing from 1409. With the establishment of the three-masted ship, propelled by square sails and battens and steered by the pivot-and-piston rudder, all the advanced ship technology required for the great transoceanic voyages was in place by the early 15th century.
In the 16th century, the cross-section of the masts was made up of several pieces of wood and held together with ropes and iron rings.
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A lower mast with sections from 1773 to 1800
In order to achieve a greater height, the lower mast is extended, so that a total length of up to 60 metres can be achieved, measured from the keel. From lowest to highest, these were called: lower, top, topgallant, and royal masts. Giving the lower sections sufficient thickness necessitated building them up from separate pieces of wood. Such a section was known as a made mast, as opposed to sections formed from single pieces of timber, which were known as pole masts.
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This is a section of HMS Victory's main mast
The forces of the sails on the mast construction are transferred to the hull construction by standing and running rigging, forwards and aft (stern) by stays, and laterally by shrouds or guys. In order to enable sailors to climb up into the rigging, which is particularly necessary for the operation of square riggers, rat lines are knotted into the shrouds like rungs of a ladder. The upper end of a ship's mast is called the masthead.
Mounting
The mast either stands in the mast track on the keel and is passed through the deck or it stands directly on deck. In the first case, the opening must be neatly sealed with a mast collar, otherwise water will penetrate into the living quarters. If the mast is on deck, it must be supported from below on the keel so that the loads do not bend the deck. Practically every sailing ship therefore has a more or less visible vertical support through the cabin.
Masts are usually supported by the standing rigging. The shrouds pull the mast downwards with several times its own weight and thus prevent it from tipping over.
Traditionally, when a sailing ship is built, one or more coins are placed under the mast as a lucky charm (according to my theory, the coins were also used as money to pay Charon the ferryman in the underworld if the ship sank); this custom is still practised today. Just as a horseshoe was nailed to the mast to bring good luck.
Mast types
For square-sail carrying ships, masts in their standard names in bow to stern (front to back) order, are:
Sprit topmast: a small mast set on the end of the bowsprit (discontinued after the early 18th century); not usually counted as a mast, however, when identifying a ship as "two-masted" or "three-masted"
Fore-mast: the mast nearest the bow, or the mast forward of the main-mast. As it is the furthest afore, it may be rigged to the bowsprit. Sections: fore-mast lower, fore topmast, fore topgallant mast
Main-mast: the tallest mast, usually located near the center of the ship Sections: main-mast lower, main topmast, main topgallant mast, royal mast (if fitted)
Mizzen-mast: the aft-most mast. Typically shorter than the fore-mast. Sections: mizzen-mast lower, mizzen topmast, mizzen topgallant mast
Some names given to masts in ships carrying other types of rig (where the naming is less standardised) are:
Bonaventure mizzen: the fourth mast on larger 16th-century galleons, typically lateen-rigged and shorter than the main mizzen.
Jigger-mast: typically, where it is the shortest, the aftmost mast on vessels with more than three masts. Sections: jigger-mast lower, jigger topmast, jigger topgallant mast
When a vessel has two masts, as a general rule, the main mast is the one setting the largest sail. Therefore, in a brig, the forward mast is the foremast and the after mast is the mainmast. In a schooner with two masts, even if the masts are of the same height, the after one usually carries a larger sail (because a longer boom can be used), so the after mast is the mainmast. This contrasts with a ketch or a yawl, where the after mast, and its principal sail, is clearly the smaller of the two, so the terminology is (from forward) mainmast and mizzen. (In a yawl, the term "jigger" is occasionally used for the aftermast.)
Some two-masted luggers have a fore-mast and a mizzen-mast – there is no main-mast. This is because these traditional types used to have three masts, but it was found convenient to dispense with the main-mast and carry larger sails on the remaining masts. This gave more working room, particularly on fishing vessels.
Cock, John. A treatise on mast-making , 1840.
Fincham, John. A Treatise on Masting Ships and Mast Making , 1854. Kipping, Robert. Rudimentary treatise on masting, mast-making, and rigging of ships , 1864.
Steel, David The Elements and Practice of Rigging, Seamanship, and Naval Tactics, Including Sail Making, Mast Making, and Gunnery , 1821.
Steel, David. Steel's Elements Of Mast-making, Sail-making and Rigging , 1794.
Layton, Cyril Walter Thomas, Peter Clissold, and A. G. W. Miller. Dictionary of nautical words and terms. Brown, Son & Ferguson, 1973.
Harland, John. Seamanship in the Age of Sail,1992
Marquardt, Karl Heinz, Bemastung und Takelung von Schiffen des 18. Jahrhunderts, 1986
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octavio-world · 6 months ago
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mapsontheweb · 1 year ago
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The emergence the first states and city states, 2nd millennium BC.
by LegendesCarto
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moodymisty · 8 months ago
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so ummm. i also caught cato sicarius fleas. idk what happened but now i want to be bullied by the big arrogant blueberry. send help.
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[ 𝕸𝖔𝖔𝖉𝖞𝕸𝖎𝖘𝖙𝖞'𝖘 𝕸𝖆𝖘𝖙𝖊𝖗𝖑𝖎𝖘𝖙 | 𝕬𝖔3 ]
Author’s note: I hope this is what you meant by bullying cause uuuuuuuuuh -microwave noises-
Summary: Cato Sicarius tires of being your just your escort.
Relationship: Cato Sicarius/Fem!Reader
Warnings: Lewd but not nsfw, dubcon, bullying sorta, Titus is an Ultrachad™ and Sicarius gets jealous you like him and tries to show you who the captain of 2nd company really is (which is still Titus in my heart but in this case no) Nonconsensual kissing, Armor kink, choking kinda, Demeaning behavior
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He is worth more than this.
Cato Sicarius is captain of 2nd company, one of the most honored Ultramarines in this millennium. He is worth more than guard duty, escorting around baseline humans. One of Guilliman’s prized diplomats perhaps might be worth more than a common guardsmen, but in his eyes, you’re nothing more than an idea he deems largely stupid.
His genefather had been collecting diplomats as of late. Sicarius sees little need in it, but as his Primarch insisted he grits his teeth and bares it. He must have ideas beyond his scope to understand, though it doesn’t mean that Sicarius doesn’t struggle to see the logic.
“Motion sick, Captain Sicarius?”
One of the younger marines dares to joke at his petulant expression.
“We are worth more than shuffling around diplomats,”
Sicarius spits out in response, and you speak up. You’ve been within hearing distance this entire trip, and even in the silence everyone could hear Sicarius seething.
“Your fellows don’t seem to mind.”
You’ve heard from them that Sicarius is more than a harsh captain; He’s a stoic, pompous man in need of a hit to his ego. Even by Ultramarine standards. Once you’d broached the subject, the men in 2nd company escorting you a previous time had been quite eager to complain.
The Thunderhawk lands and you can hear the engines kill off one by one, and the rear ramp falls. There’s a significant gap between it and the ground, and while the Ultramarines walk down as normal, for you it’s a hefty drop.
Lieutenant Titus, whom you’ve had multiple interactions with before at this point, turns just before you’re about to jump and reaches a hand outward. You accept his hand and take the jump off the ramp.
“Thank you, Titus.”
He nods, but says nothing. You follow beside him and for a moment realize you’ve lost sight of Sicarius, before Titus speaks up and distracts you.
“You’ve already spoken to Lord Gulliman?” You nod and cross your arms, entering the massive fortress and escaping from the harsh winds.
“Yes. Only to give me a few necessary details. I imagine he has far more to do than speak to me.” You laugh and gently pat the arm of Titus’ armor, fingers brushing against the dents and scratches.
“But we can only hope they’ll see reason," you say, referring to the planetary officials you're currently going to meet. "I’d hate for lord Guilliman to be forced on employing harsher measures.”
Titus nods in a gentle understanding, and you continue deeper into this fortress area you’ve been welcomed to. Sicarius elects to post himself outside of the room you’re delegated to have this meeting in, alongside two other of his men. The rest, including Titus, whose face he cannot stand anymore at the moment, will post inside.
With his hearing and the systems in his helmet he can just hear the goings on inside the closed room, hearing your lighter voice in contrast to the others in the room.
She's a useful and gifted diplomatic negotiator, Guilliman had said about you the first time he had placed Sicarius in charge of escorting you. Make sure she isn't harmed, her work is important to keeping Ultramar under control.
If the old planets of Ultramar don't wish to conform with Guilliman's return, they should be applying force to demand they submit, not touting around fellow baseline humans to placate them.
Sicarius', stuck in his own head, wrinkles his forehead and scoffs. A younger marine beside him looks for just a moment, before rubbing his nose with his gauntlet and looking away. Sicarius can hear you issuing farewells now, and since there was a notable lack of yelling, he assumes it went well enough.
Sicarius turns to the other marines beside him, his hand on the pommel of his chainblade. He turns just as the doors open, and gestures to his men while you stand behind them.
“All of you start returning to the Thunderhawk and watch our perimeter, I will escort her back myself.” They hesitate for only the tiniest moment, but do begin to take their leave. They have no ability to refuse their captain, no matter how odd the request.
You watch them walk past you, before Sicarius’ voice cuts the air like a knife and forces your eyes to him.
“With me.”
You don’t have any reason to refuse him per se, so you follow him with an apprehensive feeling, and expression.
"Shouldn't we return to the-"
"Quiet."
Your lip curls, though you're still apprehensive as you end up somewhere far from where you entered, and he stops your walking his a rough hand on your shoulder. Astartes are lightning fast; He doesn't it before you even truly realize. With said hand he pushes you against the wall, and knocks the air from your lungs, and his hand moves to your face instead. He presses your cheeks inward, your breath is harsh as your fingers try to pull at his gauntlet.
“What are you doing?”
You say trying to wrench yourself free, fear in your eyes. Such a task is impossible however, and Sicarius uses his other hand to pull off his helmet and hang it on his thigh. His short hair is messy, and his cheeks are flush red. With anger or something else you have no idea, though you know he is furious.
“You’ve gotten too comfortable with your lack of respect; Being Lord Guilliman’s favorite.” You lose any bit of snark when you realize Sicarius is deathly serious. An angry astartes isn’t something you ever want to face, and color drains from your face as you realize how tightly you're stuck between him and the wall.
"You're far too delicate and small to be walking around like you can order Ultramarines around. Titus only allows you because he knows he's being watched after his incident."
His nose wrinkles, and he glances away as his lips shift, trying to find the words.
“Why do I always get stuck with you,” He growls, speaking about how he shouldn’t be escorting around Imperium parchment pushers. You hesitantly look up at him, face red from his tight grip.
"I," You open your mouth just a bit, trying to find something to say that might calm him down, though it seems like he's mad at something in his own head, as much as he is you.
But you can't find the words, nor would you even have the time to say them, as Sicarius' face leans downward to smash his lips against yours, and freeze you in the sheer shock of it. You have no hope of pushing him away despite your effort and his gauntlet keeps your face firmly forward; You can feel his hot breath on your skin, and his even hotter skin against your own. His lips are rough, you can feel tiny scars rub against your own softer lips, his hand gripping your jaw forcing your mouth somewhat open. His kiss is so angry it doesn't feel entirely like one, when he moves his teeth brush against your bottom lip, and for a moment you think he's going to bite it.
When he pulls away you can hear the soft pop of your lips separating, and see the shine of your spit on his mouth.
“Sicar-“
He does it again, your hands grasp the collar of his chestplate for leverage to try and push him away, and to stay upright. He’s barely letting you breathe, and when his hand moves from your jaw you’re gasping for air. Though his hand simply moves to press against your collarbone, still keeping you pinned between the wall and him; It's just high enough that it slightly presses against your neck, and you can feel his one armored knee force itself between your legs. You smack his chestplate desperately for air, and he pulls his mouth away from you for a brief moment as you gasp.
He only returns moments later however, but in that brief moment you see his face had less anger than it had earlier. You feel his nose press against your cheek, how cold his armor feels as you desperately grasp it.
Your legs wobble as you groan into his mouth, and when he finally pulls himself far enough away from you and takes his supporting knee from between your legs, you crumble to your knees holding your chest and taking in air.
On the floor you're at height with his thighs, and he leans over just enough to grab your face gently.
“If you’re going to be in my company again, I’ll expect you to be on better behavior. You should act as soft as you look.”
His hand leaves your face, gently pushing as he does.
“Captain Sicarius, are you still returning to the Thunderhawk?” An astartes calls him with vox in his helmet, and Sicarius grabs it off of his belt. It'll help hide how red his lips are from how hard he kissed you, your own looking similar; He wipes his mouth with the back of his armored hand before slipping it on and responding.
“We are. I’ll be there in a moment. Just a small detour”
Sicarius casts a glance to you, out of breath with your hand on your chest, before grabbing your arm and gently hauling you up to your feet.
"Not a word about this."
He says, and you can feel his gaze through his helmet. You wipe your mouth with your hand, feeling your swollen lips and the spit on your face.
"Lead the way, Captain Sicarius."
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vimbry · 8 months ago
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*if you've heard a couple songs but don't really know much about them, or haven't listened in a long while, you can play!
update: the highest votes went to gudetama. but was it correct? here are the full titles and albums.
❌ "put your hand inside the puppet head" - they might be giants
the opening verse makes reference to leaving one's job and how "it's sad to say, you will romanticise all the things you've known before. it was not, not, not so great". according to flansburgh, "the lyric revolves around the idea that looking back on anything colors it in sentimentality".
❌ "I'll sink manhattan" - they'll need a crane (ep)/miscellaneous T
this is a flansburgh song, but linnell explained its meaning in a 1989 interview with NME as "a song about a guy who somehow figures out how to sink the island of manhattan just to kill his ex-lover, so it's his apology to the other people he's gonna kill in between. he's just gotta do it!"
❌ "meet james ensor" - john henry
it's about james ensor (belgium's famous painter).
❌ "wicked little critta" - mink car
from the tmbg unlimited collection: "forged in the crucible of an eastern massachusetts junior high, this song expresses the dreams, fears and hopes of a new england young adult" the lyrics seem to suggest said young adult fantasising about being a sports star alongside bobby orr and john havlicek while goofing off outside.
❌ "working undercover for the man" - mink car
from flansburgh: "it's more a meditation on the "mod squad" [a 1968 crime series about cool undercover detectives] than anything else. the idea of the narc just seems... like, those episodes of "dragnet" where they have the young undercover dress in a hippie suit."
✔️ "talent is an asset" - kimono my house
the lyrics illustrate an overly-cautious family shielding their very gifted child from others, to keep him studious and soak in all the glory, and is heavily implied to be little albert einstein through puns on relatives and relativity. it's not by them, tho. it's by the band sparks. it came 2nd, so I think many of you recognised it (or really wanted to see the results!)
❌ "bee of the bird of the moth" - the else
"this is a song about a creature called a hummingbird moth, which imitates another creature, which imitates yet another creature. it's completely fucked up, and can only be explained in song!" so they did.
❌ "2082" - join us
thewrap's review of the album describes this song as, "a science-fiction short story (...) a protagonist who travels into the future, finds himself hobbled but still unhappily alive all the way into the next millennium, and travels back to the title year to smother himself with a pillow in a mercy killing". fun!
❌ "call you mom" - nanobots
referred to by linnell as an "oedipus pan" song, the lyrics follow an unfortunate young man beginning a relationship with a woman, getting dumped due to his behaviour of treating her like a mother figure, then infantilising a possibly younger woman in a different relationship and in turn leaving her, who goes on to experience the same issues. fun! (altho, the final chorus actually still refers to her Mom leaving, not her dad, I got the details wrong there in the poll).
❌ "gudetama's busy days" - dial-a-song / my murdered remains
yes, that's a real song. quote flansburgh: "(...) it is really just about feeling isolated from the world, even if you are in a crowded place and manically trying to keep up with your life. the character of gudetama appealed to me because he is such a mopey sad sack."
❌ "marty beller mask" - album raises new and troubling questions
this is real, too! it's just about how marty beller was actually an alter ego of whitney houston the whole time. he's not, but wouldn't that be interesting. the song name-checks multiple of her own in the lyrics. it was temporarily retired out of respect following houston's death (4 months after its release), returning to live performances ten years later in 2022.
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