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.