The hero Gilgamesh has existed throughout several phases of Mesopotamian civilization, although he generally has many of the same attributes. The earliest Gilgamesh stories seem to come from Sumerian texts which most likely reflect the crystallization of earlier epic traditions, and was probably one of the most well-known and influential poems available (West 65). The stories concerning Gilgamesh in Sumerian are short and episodic and present no unifying theme, but in the Akkadian versions it appears that the poet has unified these traditional stories into one larger eleven or twelve tablet epic with more unified themes (West 65, Noegel 240). This unified epic, where the several episodes are linked together, provides a picture of a heroic king who undergoes development and comes to some sort of understanding of the world where he lives. It is the Standard, or Old Babylonian, version of the hero Gilgamesh to whom the character of Achilles may best be compared. Wolff has noted, by looking at the development of characters in Gilgamesh, that where Gilgamesh changes and his nature is affected by the presence and loss of his comrade Enkidu, Enkidu's nature is static (Wolff 1). The nature of Achilles follows a similar pattern based around the presence and loss of his comrade Patroclus. .
To begin, Achilles and Gilgamesh have some very basic similarities of their positions in life. Each is the son of a goddess and a mortal man, a king, who happens to be far away from the action in the epic. Gilgamesh is described as two-thirds god and one-third human, which marks him out as a special kind of character who exists in relationship with both the divine world and the mortal world (Gilgamesh 1.145) The king of Uruk is not apparently present in the story of Gilgamesh, and Peleus is far away from Troy at Phthia. Achilles as the son of Thetis has a special relationship which allows him to communicate with the gods by way of Thetis's favor in the eyes of Zeus (Il.