Does this game capture the wonder and power of Teotihuacan?

When I sent an email to the folks at NKSN Games over in Poland requesting a review copy of Teotihuacan: City of the Gods, I was actually at Teotihuacan. Standing on top of the Pyramid of the Sun after a grueling climb and looking over the temple-bounded Avenue of the Dead, it's a place that hums with energy, mystery and history. It's a site that predates the Aztecs and in fact, it was already old, abandoned and overgrown when they found it. I had not really considered reviewing the game until I was there, captivated by the archaeological zone just about an hour north of Mexico City and wondering if this design by Daniele Tacsini with a suite of solo rules by David Turczi could capture something of its magic.

I'm not sure there's much magical about this extremely well-made, exquisitely developed game. It's as intricate and creative as Mr. Tacsini's previous work with a Mesoamerican setting, Tzolk'in: The Mayan Calendar. And like that design, it’s really much too mathematical and scientific, so to speak, for it to produce a sense of wonder. This is a heavy Eurogame with a highly syncretic, aggregate sense of design that manages to include quite a few stock mechanics ranging from the old worker placement chestnut to set collection to a rather cleverly elaborate rondel-based action selection scheme. It hews to the expectations of the heavy Euro genre in terms of favoring mechanisms over themes and strong settings, and this may foreclose on some of the more human, squishy elements of belief, mystery, and wonder that capture the imagination.

With that said, I especially appreciate that this game suggests some assumptions about Teotihuacan in creating its game-space. Much of the actual history of the site is unknown or simply educated conjecture. In Mr. Tacsini's thesis, the Pyramid of the Sun is constructed by workers, represented by D6s, that are not slaves (as it is not believed that slaves built these monuments), but are in fact artisans that essentially gain experience by travelling around an sort of blown-up action selection rondel and performing actions in increasing efficiency until they "ascend". From there, a new worker is born and continues the work of its forbearers.

This is a very cool concept, and it is one of the more thematic pieces of the design. I also like that a part of the design finds players building houses, as Teotihuacan's dwellings were highly advanced for their time. There is also temple-building, in reference to the site's religious significance. The resources of stone, gold, wood, and the cocoa which abstracts farming and food give a sense of a dynamic economy that speaks of the city's role in commerce.

But make no mistake, despite the absolutely wonderful pyramid-building mechanism, whereby you place big wooden tiles and decorative steps in a central construction site with bonuses awarded in a puzzle-like minigame, the nuts-and-bolts are the priority over the story being told. Like a Stefan Feld game, this is a design where choices are made that inevitably result in scoring opportunities but the question becomes which of the scoring opportunities are the most lucrative or accessible. "Point Salad" is the oft-used pejorative.

But "Point Salad" often means that a game simply has multiple vectors to measure performance, and that is definitely the case here. There's a lot going on between technology advancements, sending workers off to worship, a set collection element involving masks, paying worker salaries, and watching for interim scoring when an eclipse hits. This means it is a complex game with lots of components, rules, and moving parts. Indeed, the game looks quite intimidating spread out on the table with all of its tracks, tables, and other practicalities. This is not a game for those looking for high octane thrills, memorable plays, or volatile player interactions. It's a measured, studious game that can alternate between compelling and multi-layered strategy and the tedium of process and incremental advancements.

I wish that the game were simply more fun to play than it is. It's undeniably interesting - especially as I feel a personal connection to the place - but it is also not a game that I find myself eager to play often. With slower, more analytical players this is the kind of game that can shift from engaging to agonizing and the lack of meaningful friction between competitors can leave the game as a slightly-better-than-average heavy Euro with a much-better-than-average setting.

The solo rules bear mentioning, because they are worthwhile and alleviate the potential for the game locking up due to the calculations of others. I liked the solo game, but there again I felt like the design is interesting and engaging while on the table but not necessarily calling me back for repeated play. I do think that this game will find a very appreciative and receptive audience with folks that are looking for a new title in the vein of Tzolk'in, the Stefan Feld titles, or even Uwe Rosenberg's more complex fare.

I'm glad I got to play this game and I'm glad it is out there. But I'm not able to be captivated by it despite its attention to detail and its admirable attempt to represent the history of a place whose history is still largely a question mark. It's a bold, attractive design but the heart of Teotihuacan lies elsewhere.

Thanks to the fine folks at NKSN Games for supporting quality games writing by supplying us with a review copy of this game. ThereWillBe.Games does not accept any payment or editorial direction from publishers or designers.

AND NOW it's time to pass the hat. I'm just about to do the first review copy giveaway - are you in? Go to http://www.patreon.com/michaelbarnes to chip in a buck and I'll put you in the drawing.