Historical (in)Accuracy

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ost everything I write has roots in some archeological site, artwork, or historical figure. I take what information I need and leave what I don't, which isn't easy. I want to honor the history, yet my story needs are different (and more important). It takes me a few days to process the research and pick out the suitable details. I don't pretend to write historical fiction. I write fantasy, yet what I keep usually rings pretty true. However...lately, I've been wondering just how far I'm willing to drift from my sources.

As far as accuracy of place, I try to be strong willed and make the story fit the landmarks. I don't change things. Two excellent examples of my reasoning:

1) Assassin's Creed-Revelations put a port in Cappadocia.
2)The International relocated Yerebatan Sarnici beneath the Blue Mosque.

Shifts like that irk me because I know better, and because those shifts mislead people. Many viewers or readers won't know the difference, and worse, they might take the information at face value. I suppose the important issue is exposing the public to the landmark, regardless of location, but it bugs me. Does it bug you?

I find historical figures are even more sticky to handle. So much so, I'm thinking to rename some major characters in Burnt Amber to avoid a big headache later.

Exhibit A:

The Turkish series I currently <3 <3 <3, Muhteşem Yüzyıl (Magnificent Century), featured Isabella Fortuna, Princess of Castile -  a whole subplot of her falling for Sultan Suleiman. Give me a break.

In fourteen hundred ninety-two
Columbus sailed the ocean blue.

That Isabella died in 1504. (I think they're referring to queen Isabella - I can't find evidence to the contrary.) What was she doing in Istanbul in late1526?

Don't screw with my head like that, people. Readers and viewers are not stupid, and we don't appreciate being misled. Although what worries me most is the idea that these inaccurate episodes may be the only history lesson people get about these rulers. At least give us a decent disclaimer. No?

So. Maybe I can and should go farther from my source than I thought, especially since I know accuracy is not all it seems to be either. Winners wrote their version of the story. What would the losers have to say?

I say creative license is a blessing. What say you?

Haystacks & Hydrangeas à la Assassin's Creed

True to Ezio's previous adventures, there are plenty of haystacks to hide in throughout Assassin's Creed - Revelations. True to Istanbul, there are also plenty of hydrangeas, or what the locals call hortensia (hydrangea macrophylla). Although I wouldn't want to be jumping into them like Ezio does, hortensia bushes in all shades of blue and lilac are found in parks and palaces across the city - in real life and in AC-R. Little details like this are the reason I enjoyed exploring the game.  
Here's my take on AC-R:

Topkapi Palace is detailed fairly well, as is the Grand Bazaar, and other landmarks like Hagia Sofia, the Galata Tower, and the Maiden's Tower. The rest of the city feels like any other AC game, except for the minarets. Tile roofs and towers, courtyards and caverns. The programmers threw in some carpets for effect, but it feels like Ezio could be anywhere, especially since the Bosphorus looks like a small river or maybe a Venetian waterway. (The Bosphorus is much wider in real life and you wouldn't want to swim across, my dear Ezio.)

But if you like Ezio's previous worlds, then the familiarity is a plus. (Even I can't really complain.) I was disappointed with the way programmers handled the Yerebatan Sarnici. They must have had plenty of leftover code and thought they could get away with chopping it up into sections. I can almost forgive them. There are plenty of cisterns under the city which might fit into their labyrinthine plan, and some of them must connect to Yerebatan Sarnici. What I don't accept is the way programmers handled the caves of Cappadocia.

Problem #1: There are no navigable rivers in Cappadocia, yet Ezio hops on a ship in Istanbul and lands right at the hidden entrance to a rock city.

Problem #2: The city is inside a huge cave. Correct me if I'm wrong, but the cities of Cappadocia are carved into cliff faces, or dug seven stories down like ground squirrel warrens. Supersized, giant caves? Felt like a device the programmers used so they could suspend a challenge from the ceiling. *ahem*

So besides hydrangeas and aptly placed white tulips, what did I love about AC-R?

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Turkish is interlaced in conversation. Push someone as you run past and you might get a dose of interesting insults. Some of the women standing around have stories to tell about their lives too, if you listen. I think they used some native speakers because the accent was pretty pure.

Otherwise, the city folk are pretty standard. Instead of Venetian courtesans, we swap out a few dresses et voilà: Romani gypsies. Veiled women and turbaned men roam the streets in between groups of Ottoman Janissaries, who look pretty darned awesome in their detailed uniforms. I've got a thing for Janissaries though, so maybe it's just me. Uniforms aside, there isn't much difference between them and the Byzantines supporting theTemplars of the AC-R conflict. All guards act the same as any soldiers in previous AC games.

Bottom line: don't expect anything outrageously different from AC-R. Expect to spend some more time with Ezio Auditore da Firenze, relive a few scenes with Altaïr, and help Desmond out with the Animus.

You know what to you need to do. 

Psst...Go play the game! Desmond is up next. ;)