User:Soranin/Sandbox

My sandbox. Probably going to be a collection of attempts to get the databases in functioning wiki order.

Notes

• Must find way to fix the overlap of categories in tabber.
• Add images for Freedom Cry's weapons

Discovery Sites

Lesbos Banner and CoinageFortified CampsA Soldier's LifePetrified Forest of LesbosMedusaMedusa and PerseusMedusa's TempleThe Keryneian HindShipsEuboean BannerWorkshops and Metal WorkersStatue of PoseidonThe Ram: The First Naval WeaponMiltos and the Protective EyeTypes of Boats and Organization of ShipyardsAchaian BannerArmor and WeaponsHoney OfferingsNaxos BannerMarbleExtractionThe Fate of Old ShipsChoosing the Right Materials for ShipbuildingBellerophon, Pegasos and ChimeraOdysseus and PolyphemosJason and the Golden FleeceZeus and TyphonSkyllaOdysseus and the SirensKassandraAlexiosOrchomenosGods and FishTextures and MaterialsBoeotian BannerSphinxThe Battle of PlataiaColor on Greek StatuesSamos BannerMessaran BannerThe Kretan BullC

The banner of Lesbos, home of the famous poet Sappho, was inspired by one of the most interesting monetary types in antiquity.

Unlike others cities, Lesbos changed monetary types from one issuance to another. This provided great variety - notably this unusual depiction of two female heads overlapping.

Lesbos's cities were members of the Delian league from the start. They provided ships to the alliance, but then revolted in 428 BCE and the victorious Athenians sent clerouchs (settlers) to occupy the island.

Field camps were built at the end of a day's march to provide protection in case of a surprise enemy attack. They were widely-used when attacking cities during sieges. The camps are where soldiers would eat, sleep, and store their weapons, food rations and spoils - often for months at a time. It's also where a soldier would take refuge when and if things went badly in battle. Building a good fortified camp or fortifying a village or small city in the enemy's territory may have meant the difference between victory and defeat. As sieges would stretch on, a good fortified camp meant that an army could safely remain in unfriendly lands and exert pressure on the enemy. This could be done by burning or taking their crops, by preventing resupply, or simply by exerting their demoralizing presence. Establishing a fortified position in enemy lands in order to constantly raid it was a common tactic in the Peloponnesian War. Athens employed it at Pylos from 425 to 409 BCE, and so did the Spartans with a more devastating effect over a weakened Athens when they fortified Dekeleia from 413 to 404 BCE.

Soldiers on the move mostly slept under the sky on beds of reeds, for in most cases tent materials were too great a burden. They ate two meals a day - one at mid-day [except when battle was expected), and then dinner. They usually cooked these meatls themselves. In most cases, the meal consisted of maza, a sort of barley porridge. The Spartans did things differently; they had dedicated cooks in their armies. When the soldiers need to relieve themselves, they simply went wherever they could outside of camp, as there was no special location for this act. There was little in the way of entertainment in military camps. The Spartans, however, did have some techniques for avoiding boredom. After their regular practice and exercise, they had a sort of contest of singing songs by the poet Tyrtaios, and the winner received a prize in meat. Even in a war camp, the gods had to be honored. Whenever possible, sacrifices were made and seers were consulted, often about the tides of battle.

(Behind the scenes) Lesbos is an island situated in the north-east of the Aegean Sea. Lesbos rebelled against the Athenians, leading to its eventual surrender to Athens. Lesbos is notable in real life for its 18-million-year-old petrified forest, a UNESCO World Heritage Site, home to fossilized remains of a once vast swathe of vegetation and forest. The art team used their artistic license to grow the trees into dense forests of tangled roots and branches, a maze for our hero to navigate. The atmosphere of the forest is oppressive, with temple ruins appearing from the murky background, and a sense of dread lingering behind every corner. Finished concepts by Hugo Puzzuoli show the red and yellow accents in the rock of the petrified trees, caused by intense volcanic activity millions of years ago.

The Medusa has been portrayed in many different ways over the years, from a beautiful young woman, to a monstrous creature with a serpent's body and tail. The art team decided to move away from these depictions, concentrating on the details of her appearance. The snakes are based on actual Greek species found on the islands and mainland Greece. Her dress is made from targe swathes of snake skin, suggesting even bigger serpents once existed. “Medusa is represented in her Greek form, as a humanoid woman, rather than in the Roman version that would follow," explains art director Thierry Dansereau. She is, after all, a woman transformed by an ancient artifact, rather than the will of the gods.

Perseus was the Greek hero who ultimately killed Medusa. He was the son of Zeus and Danai, and he promised to obtain the head of Medusa to King Polydektes. Medusa was a gorgon, a female monster that had living snakes on her head instead of locks of hair. Her gaze petrified all who locked eyes with her, and turned them to stone. Perseus went to the Hesperides to acquire the weapon that would help him defeat Medusa. They also gave him a sack to hold her head (kibisis). He received a sword [harpe) from Zeus, winged sandals from Hermes, a shiny shield from Athena, and the ability to hide from Hades. When Perseus entered Medusa's cave, he used the shield's reflection to avoid eye contact, and successfully decapitated her. Perseus used the head of Medusa as a weapon, but later gave itas a gift to Athena, who placed the head of the gorgon (gorgoneion) on her shield, or the Aegis.

Where better to have the home of the notorious Medusa, famous for turning her victims to stone, than in a petrified forest. As one of the most well-known creatures from Greek myth, featuring in countless books, movies, and historical records, it was a challenge for the development team to strip away the previous incarnations and start fresh. In mythology, Medusa was one of the three Gorgons, sisters with wings and snakes for hair, able to petrify onlookers. The Medusa in Assassin's Creed Odyssey is a woman, transformed by a First Civilization artifact into a creature of great power. As such, her temple features the classic geometry and architecture of First Civilization constructions, and is the only open-air First Civilization temple in game.

The third labor of Herakles was to capture the Keryneian Hind, a beast notoriously faster than an arrow. This particular labor was not about strength, but about speed and patience. Herakles chased the hind on foot for over a year -in Thrace, and as far as Istria in the Adriatic Sea. However, there's more than one legend that tells of its capture. In one version, Herakles caught the hind when it was asleep with a trap-net or a thrown arrow. In another, it was Artemis - whose sacred animal was the hind - who helped Herakles after he told the goddess that he didn't intend on desecrating the animal.

The Greeks have long been known as a naval powerhouse. The development team created multiple ship models, covering the Trireme (with three rows of oars], the bireme (with two), merchant ships and other smaller boats. Historical pop culture sources, including a visit to a life-size replica of a trireme, 3rd century BCE graffiti, depictions on vases and stone relief, and movies like Hercules [1958], Jason and the Argonauts (1963) and many others, all served to inform the design team to create realistic and functional digital replicas of these classic ships. The color and animal based designs of the ships are also significant. To the far right, the Athenian ship is clear, not just from its blue coloring but also the owl adorning its sail - the owl being the symbol of wisdom, associated with Athena, the protector goddess of Athens. In the center is a darker colored ship common among pirates, to the left a Spartan ship, and in the far left, the smaller and less streamlined ship is a fishing boat. 3D renders of the figureheads featured in Odyssey range from the proud griffin and Pegasos to the terrible hydra and medusa.

Euboea was an important source of grain and cattle - its name even means “rich in cattle”. Knowing this, it isn't that surprising to find depictions of bulls on their coins. The banner was inspired by the head of a bull, taken from the silver drachmae of the Euboean league. Bulls are sometimes presented in full on other Euboean coinages, like those of Eretria, Karystos, or Histiaia. Because of its resources, Euboea was a strategic region to control, and Athens invaded in 506 BCE. The Athenians defeated Chalkis, confiscated the land, and gave it to 4,000 settlers [clerouch] who could retain their Athenian citizenship.

Metal workshops of different sizes coexisted in ancient Greece. By the second half of the óth century BCE, the development of armament workshops [ergasteria] employing a few craftsmen or up to a few dozen slaves is quite noticeable. Larger production units soon appeared, making metalworking one of the most lucrative crafts in Classical Greece - at least, it is assumed so by historians. As with many other crafts, metalworking was exclusively practiced by men. The smallest workshops for local supply might have been comprised of only three workers: one smith, and two slaves to assist him. On the other hand, the largest workshops resembled factories. They could be very large and employ more than fifty slaves. For example, in Athens, on the slopes of the Akropolis, four giant 40-meter-long workshops dating back from 470-440 BCE have been excavated. The Athenian metic Kephalos might have possessed such a weapons workshop, since it was said that he had 120 slaves working for him. By contrast, the metal workshops found in the sanctuary of Nemea are smaller, but they are not necessarily the more common scale. The overall trend was super-specialization; the sword makers, for example, were not the same as helmet or shield makers. There were doryksoi [lance makers) and machairopoioi, who crafted swords or knives. Helmets workshops could also produce greaves, but the cuirasses, especially the “muscle armors”, were manufactured by specific craftsmen. Moreover, in the large workshops, one could assume that all the workers were assigned very narrowly-defined tasks.

The Bronze Statue of Poseidon at the Archaeological Museum of Athens [National Museum of Athens) depicts either Zeus or Poseidon. It is one of the few remaining original bronze statues from Greece's Classical period, but it is also one of the most impressive. The statue depicts a thick-bearded, curly-haired god with a muscular, well-detailed anatomy. It is missing its eyes, which were made of a different material - perhaps semi-precious stone or glass. The statue's right hand clutched either a lightning bolt, if it depicted Zeus, or a trident, if it depicted Poseidon. For the purposes of the game, we decided it was Poseidon. The sculpture was made by an artist of great skill. It's possible it was created by the renowned sculptor Kalamis.

The offensive weapon of triremes was the ram [embolos). The objective of all naval tactics was to bring the ram to bear on the enemy's flank or quarter. The ram was made of bronze and attached to a protruding plank at the front of the ship. The ram was a warship's most expensive piece of equipment, but luckily, it could be salvaged and reused when a ship was broken up. The ram was located at the forward tip of the keel. This area was heavily-armored and built up to a sharp point with three chisel-like blades just above water level. Building a ram required a high level of metallurgical expertise and complicated foundry facilities, as they were cast in one single huge piece. The ram's tip flared into fins rather than coming to a pointin order to prevent it from getting wedged into the hull of its opponent, and the timbers that the bronze casing covered were carefully designed to distribute the shock of impact over the entire length of the Light hull. The ram could smash a hole in an enemy vessel and therefore cripple it, but could not literally sink it. The shape of the ram was designed to cause maximum damage without penetrating the hull too far, and make it difficult for the attacking vessels to back off. The prow, with its ram and heavy buildup of timbers, was both the offensive weapon and the best-protected area of the ship. The stern and sides were its vulnerable quarters. As long as a warship kept its prow toward the enemy, it was poised for both offensive and defensive action. Its role was to disable other ships in battle. The Athenians in particular were very adept at maneuvering their ships to utilize this weapon effectively.

Miltos is a type of red fine-grained ochre made up of red iron- oxides often mixed with earth, sand, clay, wax, resin or other impurities, creating a reddish pitch. It played a vital role in waterproofing and ship maintenance due to its astringent, binding, and drying properties. lts use is attested to in Mycenaean clay tablets, inscribed in the script known as "Linear Bº and dating from the 2nd millennium BCE. Specifically, by the Classical period, miltos from Kea was prized in Athens due to its effectiveness in the maintenance of ships, protecting the hull from rot and infestation. The high lead levels meant that the powder, once mixed into an organic medium, would make a very effective anti-fouling agent, preventing the growth of bacterial colonies on vessel hulls that could slow the ship down. In this way, applying lead-rich miltos paint mixed with pitch to the hull of a ship could inhibit biotic growth and prevent fouling. The prow of a trireme was often decorated to look like the head of an animal, with the ram as its snout. Aischytos called the triremes "the dark-eyed ships”. The eye was a regular decoration for the triremes. It was made from a piece of polished marble, then shaped and painted to resemble an eye. Sometimes oculi could be rather large and, if not painted, were an inlaid decoration occasionally made of expensive materials. Seafarers attached oculi to their ship because they looked upon their vessel as a living entity that needed eyes to find its way. Black warships with red or purple painted bows and large dark-blue enamel oculi seen sailing on the dark seas would have had a powerful effect on any observer - especially enemy forces.

The various kinds of ships used by the Greeks could be divided into two main types: ships of war, and ships of burden. The latter were not designed for quick movement or rapid sailing, but to carry the greatest possible quantity of goods. Their structure was therefore bulky, their bottom round, and although they were not without rowers, the chief means by which they were propelled were their sails. The most common ships of war were triremes. This warship was an example of ancient engineering at its highest level. The trireme derives its name from its three rows of oars, with one man per oar. They were very fast and maneuverable, which gave them a critical advantage in the close-quarter battles that were typical of ancient naval engagements. The triremes could move fast under sail, reaching maximum speeds of perhaps fourteen knots under the most favorable weather conditions, while their speed without the sails was probably around eight knots. They'd also become waterlogged if left in the sea for too long. To prevent this fromm happening, ships would have to be pulled from the water, and kept and maintained in shipsheds, These were buildings built on limestone bedrock. They incorporated an inclined slipway which the triremes were normally hauled up on when not at sea. The remains of the Zea shipsheds at the Athenian port of Piraeus offer useful archaeological evidence about triremes' maximum dimensions: about 115- 120 feet long, 16 feet wide and about 8% feet tall above the waterline. As for the order of the rowers and their positioning, valuable information could be extracted by the famous Lenormant relief, which shows the middle of a trireme, with three clear levels of oars coming out at different angles. The trireme was first used in Greece during the óth century BCE by the tyrant of Korinth, Periander, and then by Polykrates, the tyrant of Samos. It became the dominant warship type of the eastern Mediterranean, playing a vital role in the Greco-Persian Wars, the creation of the Athenian maritime empire, and its downfall in the Peloponnesian War.

The Achaian banner appropriately depicts a trireme, since the region includes Patrai, which served as naval base for the Spartans during the Peloponnesian War. The trireme was the most famous Greek ship. It was first built in Korinth in the 7th century BCE and became an important war ship for centuries - a fleet of triremes defeated the Persians in Salamis. Ships are a common image in iconography. They're present on vases and also on coins, with most of them depicting only the prow, like this bronze coin from Megaris.

The source material concerning weapon manufacturing in Ancient Greece is not prolific. However, we do know that as early as the 7th century BCE, more specialized-production centers emerged in regions already known for their metallurgical activities. Chalkis, in Euboea, specialized in the production of swords, while Korinth was renowned for its bronze helmets - both crucially important elements of hoplite equipment. Sykyon, in the Peloponnese peninsula, provided the iron for the manufacture of Spartan weapons. Athens, famous especially for its cuirass workshops, was also an important location in the world of Greek weapons production. During what's called the “Dark Ages” in Greek history [1200- 800 BCE), a transition took place in weaponry. The material used switched from bronze to iron - a substance that was lighter, tougher, and able to take a sharper edge. Swords became shorter and larger than the preceding bronze specimens. Both conical helmets with ornamented crests and all shapes of shields may have also been made of that metal. Around the 7th century BCE, a new tactical formation, the phalanx, gradually made its appearance in Greece. It marked the return of the use of bronze in weaponry. The new infantryman, the hoplite, was required to pay for his panoply, a set of weapons and pieces of equipment including a cuirass, greaves, helmet with cheek plates, shield, spear, and sword. Bronze was used to make all or some parts of the body armor, shield, and helmet, while the sword and spearhead were crafted with iron. The costliness of the panoply made it difficult or altogether impossible for lower-class citizens to purchase one. Therefore, only members of the elite could afford the entire set.

The ancients often made bees and honey into symbols related to the deities. Honey was considered heavenly since it never expired, and was a typical offering placed on altars for the gods. These offerings were given to rustic deities such as Pan and Priape, who were protectors of beekeepers, but also to Chthonian deities worshiped in mystery cults such as Hermes, Dionysos, and Demeter. Honey and bees were also a symbol of resurrection. Honey was considered a gift - a remnant of the Golden Age - that the gods kindly gave to men. It guaranteed long life and good health. In this way, it was connected to nectar and ambrosia - drinks of the immortal gods. In childhood, Zeus was nourished with honey and milk. Mead was seen as a substitute for these divine drinks. Honey's religious symbolism was all the more important since it could be food for newborns - a young Plato was said to be fed with honey - but also for the dead.

Naxos was the largest island in the Kyklades. lts protective deity was Dionysos, god of wine, who was born on the island according to mythology. The money of Naxos served as model for the banner, and is linked with the god as the coins show a kantharos - a wine cup. Naxos produced wine, but was more famous for its marble. It was exported and widely used. For example, it was used in Olympia and on the Akropolis in Athens. Its craftsmen were pioneers in the development of monumental marble sculptures and architecture.

Greek soil contains great geological diversity. Since the beginning of the Early Cycladic period, the Greeks used marble in architecture, sculpture, figurines, and more. The word marble, from the Greek term marmaros, means “resplendent stone”. It quickly became a luxury furniture in Greek cities, and it played a big part in the Greek economy. Some regions stand out for their marble-related wealth, including Naxos, Paros, Thasos, Attika, the Peloponnese, and Euboea Island. Marble is made up of different colors (red, pink, yellow), and each has a different texture (translucent, wavy, streaked, swirly, etc.). For example, Peloponnesian marble was red with touches of black. Pentelic marble, found near Athens, was greenish with a grainy pattern. The most prestigious marble of the time came from Paros, and was greyish white.

In Naxos, ancient quarries were located on the Ágios loannis hill on the north side of the island, with another one in the central region, Melanes. In general, the quarrymen exploited natural fissures and applied pressure to extract massive blocks. They then drilled holes into the marble, drove wooden shafts into the holes, and poured water over the wood so it swelled and split off the desired blocks of stone. In Naxos, whiter parts of the stone were preferred during the quarrying process, which had a direct impact on the price of this marble. Around 5000 m³ of the most prestigious Naxian marble was exported annually. The workers carried the marble with cranes and rails. They moved it around with pullies, cranes, levers, rails, and inclined planes.

It is archeologically attested that systematic reuse of wood from old ships was practiced throughout antiquity. When triremes were sunk during a sea battle, combatants went to great lengths and took heavy risks to recover the wreck. Sometimes, vessels were towed home as prizes, and after being repaired, equipped, and renamed, they became part of the enemy navy. In addition, older triremes were used as service vessels. One was the “soldier-vessel”, a troop transport. There was also the “horse-transport”, made out of old triremes by removing the two lower levels of seats and converting the space into stalls for thirty horses.

Pitch and timber were the main materials used to create triremes. The pitch was produced from various trees and was extracted by heat. The pitch and wax were customarily applied, either successively or as a mixture, to the wetted surface of the ship's hull, giving the vessel its speed potential as well as its watertightness and protection from sea microorganisms. The seams of newly built warships - as well as older ships under maintenance - were caulked with flax soaked in pitch. It seems likely that a new coat of pitch was put on before each new sailing. Although pitch was used generously on the triremes' hulls, they seem to have leaked water into the bilges fairly quickly. This is why ships had to be beached and dried out. The emphasis of lightness for the hull timber was obviously a prime consideration in its overall design. For lightness combined with strength, a trireme's timber was mostly made of soft wood such as pine and fir, but the keel was made of oak for extra strength. Masts were made of fir - one of the tallest and straightest trees - while carefully prepared rough, young fir trees ensured that the grain of the wood was aligned along the shafts, making the oars strong for their weight. For the inner part of the ships, larch (pitys) or plane (platanos) were also used because of their Light weight, while the stem- posts adjoining the breastwork and the bow timbers were made of ash, mulberry, and elm. One result of using softwoods was that the trireme hull tended to soak up water. The hulls not onty became waterlogged and leaky, but they also suffered from the scourge of wooden ships: the marine borer (teredo navalis). Consequently, alltriremes were beached and carried out of the water as often as possible to dry and clean their hulls.

Pegasos was the mythical winged-horse bred by the dead Medusa after Perseus killed her. Bellerophon captured the animal while it drank water from a well. Pegasos helped Beilerophon in fighting and killing Chimera in Lycia. Chimera was a monster that had the body of a goat, the head of a lion, and the tail of a snake. Bellerophon attacked her from the sky, and thought of placing a block of lead on the tip of his spear. He threw the spear - aiming for the neck of the fire-breathing monster - and the heat of the fire made the lead melt, asphyxiating her. Bellerophon returned victorious, but several quests followed that would leave him blind and miserable.

On his way back home, Odysseus found himself on the island of the Cyclops - giants that have one single eye in the center of their forehead. Odysseus reached the island and entered a cave with his companions. They were so hungry, they began to drink and eat everything in sight. When a Cyclops named Polyphemos returned to the cave with his flock, he blocked the entrance with an enormous rock, and began to eat the men. Trapped, Odysseus introduced himself as simply “nobody”, and offered wine to the confused Cyclops. Once the giant was drunkenly asleep, Odysseus blinded him with a burning wooden stake. The next day, Odysseus and his men escaped the cave hidden under the bellies of animals, while the blinded Polyphemos shouted to his fellow Cyclopes that he was blinded by "nobody".

Jason was the rightful king of lolkos in Thessaly, though the position was occupied by King Pelias. When Jason appeared in front of Pelias and asked to return to the throne, Pelias told him that he should bring him the Golden Fleece. This was the fleece of the golden ram held in Kolchis. Jason set out on this quest with his crew, the Argonauts. After several adventures, they arrived in Kolchis to claim the fleece. While there, Jason felLin love with the witch Medea, daughter of Aietes, the king of Kolchis. Medea helped Jason in the quests her father required, and her potion lulled the giant snake that was protecting the Golden Fleece to sleep. Once he held the fleece tightly in hand, Jason began his journey back home, with Medea at his side.

Typhon was an extremely dangerous monster in Greek mythology. À giant serpent-like creature with “a hundred heads, fearful eyes, and terrible voices”, Typhon was either the son of Gaia (goddess of the earth] and Tartaros [one of the primordial deities), or of Hera, or of Kronos. At some point, Typhon chalienged Zeus in order to overthrow him and take his place. The battle between them was desperate, but Zeus managed to win with the aid of his powerful thunderbolts. After losing to Zeus, what happened to Typhon differs depending on the account. He was either thrown to Tartaros, the deep abyss, or buried under either Mount Etna, or under the volcanic island Ischia. Zeus, on the other hand, became the legitimate ruler of the gods.

Skylla was a mythological female sea monster that was placed opposite Charybdis in a very narrow passage of water, thought to be the channel of Messina. The mention of Skylla is first seen in “The Odyssey”, when Odysseus and his companions had to travel the channel and found themselves between the two monsters. Circe advised Odysseus to sail at full speed, but closer to Skylla - Charybdis was more dangerous and could sink the entire ship. Odysseus followed this advice, and as they passed by, Skylla devoured six of his men. They quickly escaped, and managed to pass through with no further losses.

The sirens were beautiful but deadly creatures that lived on a rocky island. Their song was so enchanting, sailors who heard their singing fell to the rocks. Sirens were half-women, half- birds - or at least, that was how they were represented in Greek art. They were usually depicted played musical instruments, such as harps. In "The Odyssey”, Odysseus was very curious to listen to them, so Circe the witch told him how he could enjoy their song without danger. Odysseus had his sailors plug their ears with beeswax and tie him to the pole of his ship. When they passed near the sirens, Odysseus was mesmerized by the song. He begged his sailors to release him, but they couldn't hear him. This trick saved his life and the lives of his companions.

(Behind the scenes) We first meet Kassandra in her home on Kephallonia; she is a mercenary, hardened and scarred by her experiences. When designing her features, the team wanted her to look strong and vibrant. Bringing such a character to life includes the smallest of details. “We had to create a false reflection in her eyes to ensure she looked alive. She needed to Look great in every angle," explains Thierry Dansereau.

(Behind the scenes) The development team kept the siblings as close as possible in look and feel, with a few distinctions. Alexios has a different body and gait, he's larger and sports dark brown dreadlocks, but they share the same coloring and variations on the same outfits. Alexios and Kassandra fight with a sword, bow, or spear. The development team wanted to show proactive combat, wielding dual weapons with a focus on attack rather than defense. Earty concept sketches of Alexios by Fred Rambaud show different outfits and weapons, from bare-chested brawler, to full Spartan warrior.

The city of Orchomenos in Boeotia has origins going back to the Neolithic period. Discovered in the 19th century, it was excavated by Heinrich Schliemann - the same person who discovered and searched for the cities of Troy, Mycenae, and Tiryns. The excavations left few details. Remains of fortifications dated to the 4th century BCE were discovered. A tholos tomb known as the Treasury of Minyas was also uncovered. The possible remains of a Mycenaean palace on the flank of the akropolis would have been found just above the spring of the Charites. Fragments of paintings have also been found in the vast architectural complex between the 9th century church and the theater. Clues suggest that the church, one of the oldest in Greece, was built on the remnants of the Charites temple. The remains of a theater also dating back to the 4th century BCE are still visible today.

The main god of the sea was Poseidon. There were temples dedicated to him in many coastal cities, such as Cape Sounion south of Athens. Fish, like other animals, were offered as sacrifices for the gods. A painting described by Athenaios showed Poseidon offering a tuna to Zeus just before he gave birth to Athena. It was believed that in order to get a good tuna harvest, one needed to sacrifice eels to Poseidon. Fish were also used in divination. The Lykians, for example, practiced ichthyomancy. Meat was thrown into a special sinkhole to attract fish, and depending on which species were attracted, the response from the gods was determined.

(Behind the scenes) Assassin's Creed Odyssey's focus on the details is what really takes the game to the next Level in terms of immersion. The sheer variety of textures that make up the layered background to the cities and landscapes are what give the locations their character and quality. The art and development team are constantly pushing the boundaries, aiming for bigger, better, and higher quality than ever before. The textures here are a fraction of what appears in the game. Even the simplest white stone blocks are not plain but richly detailed with grains and imperfections. The colorful tiles and murals speak to the craftsmanship of Greece itself, giving history and life to each wall and column.

The Boeotian banner naturally depicts the Boeotian shield, which was the main type of coinage of Thebes, and later of the Boeotian confederation. The shield is the most important weapon of defense. Greek soldiers usually used a round-shaped shield, the aspis, but Boeotians eventually developed an oval shield with a semicircular indentation on either side of the middle. This would have reduced its weight, and allowed the bearer to thrust and stab while staying protected. None of these shields have survived, which may suggest they were made from animal hides instead of bronze or wood like other shields.

(Behind the scenes) In Greek mythology, the Sphinx was a creature with the face of a human, the wings of a bird, and the body of a lion. The Assassin's Creed Odyssey team have melded more than one mythological creature into their Sphinx, adding elements off the mythological Chimera, like the tail ending in a snake head. The Sphinx offers a different challenge to the Hero, explains Thierry Dansereau, “You cannot defeat her by force, instead you must answer her riddle.” In traditional myth, those who cannot answer her riddle suffer a terrible fate: killed and devoured by the beast. “It was challenging to try to create a menacing creature but still have a feeling of beauty to transpire.” - Gabriel Blain

The Persians's crushing defeat at the Battle of Salamis in 480 BCE greatly discouraged King Xerxes from continuing his invasion. However, one of Xerxes's military commanders, Mardonios, convinced the king that their campaign could continue, Mardonios's hopes were dashed the following year at the Battle of Plataia. The Greeks, who were outnumbered by the Persians, held their own in the open countryside. They fought until they were victorious, killing Mardonios in the process and putting an end to the second Persian invasion of Greece.

(Behind the scenes) “What impressed me was the way historians and archaeologists found out about the color that the Greek artists would use on their creations. Before working on this project, | always thought that the artists of the Classical age would leave the marble uncolored. By using ultra-violet light, archaeologists were able to debunk what we thought to be true. The colors revealed by this process were dazzling and bright, exactly the opposite of what | would have expected them to be.” - Vincent Pamerleau

The lion was chosen for the banner of Samos, as it is a frequent image of ancient Greek iconography. A lion scalp was the emblem of the coinage of Samos. This lion's head was specifically related to Herakles's task of killing the Nemean lion. This legendary lion ravaged the plain of Argolis, and had skin so thick that Herakles couldn't kill it with his arrows. The her chose instead to strangle it. The battle against the Nemean lion symbolized combat against savagery and barbarism, and became the model of athletic fighting - a very popular event of the Olympics.

The area of Messara is the largest plain of the island of Krete. The symbol of the region is inspired by the coins of Knossos, which bear a labyrinth on the reverse, referencing the famous Kretan Minotaur myth. The minotaur was half-human, half-bull. King Minos of Krete made the mistake of sacrificing a bull, and thus angered Poseidon. The god then instilled “passion” for the bull into Minos' wife, who later gave birth to the minotaur. The minotaur was kept in the labyrinth built by Daidalos. On a regular basis, fourteen young men and women were given to the beast in tribute, until the hero Theseus killed him.

The seventh labor of Herakles was to kill a great bull that had destroyed crops and property in Krete. Herakles went to King Minos of Krete, who gave him permission to get rid of the bull. Herakles managed to capture the beast, suppressing it with his hands, but he ultimately didn't kill it. Instead, he shipped the bull to Eurystheas so he could confirm that the labor was successful, and then the animal was released.

Preparation

Category Pages

Page 1	Page 2	Under
Category:New Orleans	Category:Louisiana	Category:Louisiana
Category: Historical documents	Category:Document collections	Category:Documents
Category: Boston	Category: Massachusetts	Category: Massachusetts

Location Pages

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Syria	Levant	Levant
Sanctuary of Kosmos	Cave of Gaia	Sanctuary of Kosmos

People Pages

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Grand Master of the Templar Order	Templar leader	Grand Master
Mentor	Assassin leader	Mentor
Pirate hunter	Bounty hunter	Bounty hunters
Pirate hunter	Privateer	Privateers
Tainted One	Hybrid	Hybrid

Timeline Pages

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French and Indian War	Seven Years' War	Seven Years' War
Granada War	Reconquista	Granada War

Weapon Pages

Page 1	Page 2	Page 3	Under
Altaïr's Sword	Sword of Altaïr		Sword of Altaïr
Altaïr's Swords	Sword of Altaïr		Altaïr's Swords
Queen Anne's Pistol	Queen Anne's Pistols		Queen Anne's Pistol
Pirate Scimitar	Pirate Scimitars	Pirate Scimitar (Rogue)	Pirate Scimitar
Assassin Gauntlet	Hidden Blade		Hidden Blade
French Cuttoe	Cuttoe Sword	Cuttoe Sword (Liberation)	French Cuttoe

Other Pages

Page 1	Page 2	Under
Games and media	Assassin's Creed (series)	Assassin's Creed (series)
Guild challenges (Revelations)	Guild challenges (Brotherhood)	Guild challenges
Memory extraction	Genetic memory	Genetic memory
Riverboats	Boat	Boat
Shay Cormac's fleet	The Naval Campaign	The Naval Campaign
Twelve Gods	Greek mythology	Greek mythology

Syndicate Memories

Bounty Hunts

Homer DaltonHarrison HarleyWade Lynton

Era|Memories|ACS

Homer Dalton was a virtual representation of one of Jacob Frye and Evie Frye's genetic memories, relived by a Helix initiate through the Helix Navigator.

Description

Jacob or Evie Frye were tasked with bringing in the criminal Homer Dalton.

Dialogue

Outcome

Dalton was delivered to the authorities.

References

• Assassin's Creed: Syndicate

ACSMemories

Era|Memories|ACS

Harrison Harley was a virtual representation of one of Jacob Frye and Evie Frye's genetic memories, relived by a Helix initiate through the Helix Navigator.

Description

Jacob or Evie Frye were tasked with bringing in the criminal Harrison Harley.

Dialogue

Outcome

Harley was delivered to the authorities.

References

• Assassin's Creed: Syndicate

ACSMemories

Era|Memories|ACS

Wade Lynton was a virtual representation of one of Jacob Frye and Evie Frye's genetic memories, relived by a Helix initiate through the Helix Navigator.

Description

Jacob or Evie Frye were tasked with bringing in the criminal Wade Lynton.

Dialogue

Outcome

Lynton was delivered to the authorities.

References

• Assassin's Creed: Syndicate

ACSMemories