Words by David C. Obenour
250 A.D. While Europe raged with invasions and civil wars, a plague, and crippling poverty brought about by the crumbling of the Roman Empire, the Maya’s Classic period had just begun. Royal families led kingdoms to raise remarkable cities of art and architecture out of the jungles of Mesoamerica. Dynasties rise and fall as society advances further and further with the wealth and wisdom of their efforts. Will you be able to take on the mantle as one of history’s great K’uhul Ahau?
Games can be many things. They can be a bonding experience. An escape from the ordinary. A chance to think critically and creatively. A method of storytelling through play. And sometimes, games can also be a fascinating immersion into a rich history and continuing culture.
Painstakingly researched and lovingly rendered, Ahau is the intentional work of a number of dedicated gamers, artists, illustrators, historians, archaeologists, activists, scribes and more. Undertaking this task was Tamás Oláh, who coordinated across the globe to bring some of the culture of the Maya to our tables.
Off Shelf: What made you decide to create a game set in the Classic period of the Maya civilization, ca. 250 A.D.?
Tamás Oláh: From an early age, I’ve been drawn to ancient high cultures, with the Mesoamerican ones and the Maya civilization particularly captivating me. Their Classic period is marked by innovation, cultural depth, and unparalleled achievements including the famous pyramid temples. I felt there was a void in the tabletop world for a game that celebrated this era, prompting me to create Ahau to share this enchanting world with players.
OS: How did you connect with David S. Anderson and Joshua T. Schnell as the archaeological and historical consultants for Ahau? How did their insight help to shape the game?
OT: David and I first connected on Twitter when I sought expertise on the board game’s map details. His insights were transformative, suggesting a focus on the Classic period. I met Joshua on a Maya wargaming Facebook forum, where he became instrumental in finding reference imagery for the game and assisting with our Kickstarter updates. Together, they elevated Ahau from just a game to an authentic historical journey.
OS: You also credit Walter Paz Joj and Carlos H Rodriguez as cultural consultants. How did their insight differ from Anderson and Schnell and what were they able to add to Ahau?
OT: While David and Joshua contributed archaeological and historical knowledge, Walter and Carlos, from Guatemala and Mexico, offered a living link to Maya heritage. Walter, a modern-day Maya scribe, has dedicated his life to rejuvenating ancient Maya writing for contemporary use. His contributions brought a sense of authenticity and reverence to the game. Carlos, who is also a gamer and game designer, added layers of contemporary insight, especially with regard to the pyramids in the game, ensuring Ahau was anchored both in its storied past and its living present.
OS: Could you delve a little further into Walter Paz Joj role as an artistic consultant? How did that work and what were some of the things they were looking to make sure was embodied in the finished art?
OT: Walter’s involvement as an artistic consultant was both a privilege and an enriching experience. Walter is not only an artistic consultant but an embodiment of the living Maya heritage, seamlessly bridging the past with the present. He sees his role not just as a teacher but as a conduit of knowledge, ensuring that the wisdom of the ancestors reaches the younger generation, especially in a context where the knowledge has been kept away from its rightful heirs. He believes in making knowledge accessible to communities that have been historically denied their legacy. This spirit of sharing and cultural restitution is what Walter brought to our project, making Ahau not just a game but a cultural testament.
My journey with Walter began when David introduced me to him. His initial enthusiasm for the project was palpable, and he was especially taken with our art. Walter’s work is a remarkable blend of modern aesthetics and deep-seated traditions. One of the things that stood out to me was his creation of Maya glyphs. These glyphs encapsulate an entire life story of a ruler. It was a Kickstarter stretch goal to have Walter design these glyphs for each ruler in the game, and he delivered masterfully. Adding a heartwarming personal touch, Walter even crafted a glyph for my name and suggested its placement on the game cover.
His artistic talents aside, Walter also played a pivotal role in ensuring the cultural accuracy of the game. He assisted with the correct pronunciation of Maya words, such as K’atun, for our Kickstarter campaign video.
OS: In your research, what sources did you find the most helpful in understanding the Mayan history and culture? What did they illuminate for you?
OT: Michael D. Coe’s “The Maya” is a classic read, and was instrumental in illuminating many aspects of the Classic period. It showcased the transformation from enigmatic kings and palaces in the earlier times to the rich tapestry of the Classic period’s royal courts. These courts, with their intricate dynamics, revolved around a monarch and his close kin, occasionally a queen. The narrative even delves into powerful courtiers, some possibly from alternate royal branches, whose ambitions had to be both integrated and cautiously monitored.
On the visual side, Davide Domenici’s “The Maya: History and Treasures of an Ancient Civilization” was an absolute gem. Its captivating illustrations offered an immersive visual journey, complementing our understanding of the Mayan culture. Additionally, ancient codices and primary texts offered a direct window into the mindset of the era. Meanwhile, the vibrant imagery of the Bonampak frescoes greatly influenced the design and artwork of our game’s role cards.
OS: Beyond these main sources, were there any more obscure sources or untraditional trails of research you or your team did for Ahau?
OT: Our overarching goal was to showcase the Maya not as a “mysterious ancient lost civilization” but as a flourishing, enduring culture. Drawing inspiration from contemporary source-based historians, we aimed to illustrate cultures as they might have perceived themselves. This same vision will be extended to my forthcoming game, “Pillars of Heracles,” which is set to be a monumental exploration of the archaic period of ancient Greece. Such dedication to authenticity led us to develop what another magazine praised as a “historically accurate Maya simulator.”
OS: Integrating that research into the designing of Ahau, what are some of the things you are most proud of in how they translated into the finished game and gameplay?
OT: The synthesis of education and entertainment in Ahau is a standout for me. Players can relive the challenges faced by Mayan rulers while appreciating their legacies.
The territorial conflicts are depicted with a unique simultaneous area selection mechanic. This not only encapsulates the unpredictability and tumult of warfare but also mirrors the transient nature of rulership tied to specific city-states. The constraints of the era, marked by an absence of centralized infrastructure, meant rulers often had fleeting dominance over expansive regions.
Moreover, I take immense pride in the game board’s design, which is a culmination of extensive research. While crafting the map, we meticulously overlaid a map of archaeological sites, pinpointing ten central cities from that era. Each of these cities is symbolized by its most renowned architectural feat.
OS: Was there any unique considerations or sensitivities you wanted to navigate when integrating and gamifying the gods and religion of the Mayan people into Ahau?
OT: Respecting the Mayan pantheon and the portrayal of its people was a top priority. We endeavored to avoid appropriation and worked closely with our consultants to ensure an accurate and reverential portrayal. The Mayans’ spiritual depth was vast. While we incorporated numerous elements, the full breadth of their cosmological beliefs couldn’t be encapsulated. We hope this ignites players’ curiosity to delve deeper!
OS: Capturing their culture through inspired artistry and recording their history through a hieroglyphic written language, can you explain the art direction you gave to Dávid Szabó, Aurél Lázár, and Gergő Kovács? Working cross culturally, how do you feel they were able to add to the rich history you were trying to encapsulate?
OT: I encouraged them to delve deep into the Mayan world, prioritizing essence over mere aesthetics. Their diverse backgrounds infused the game with nuanced authenticity. Additionally, Walter Paz Joj and our consultants played a critical role in ensuring cultural appropriateness.
OS: How did the family mode develop? What do you like about having that as a playing option for Ahau?
OT: Recognizing that Ahau’s complexity might be daunting for some, we introduced a family mode. I initially playtested this with my elder daughter and friends’ kids and they instantly loved it. This mode welcomes casual gamers and families, ensuring they can savor Ahau’s world without feeling swamped. It’s a bridge between the game’s rich history and an engaging, accessible experience. This game mode also serves as a tutorial to the full game, and we also use this at conventions to popularize the game.