#nahual

The Sixth Sun is a project that reimagines Aztec cosmology through the lens of modern humanity’s search for meaning. Set in present-day Mexico City, the story follows two musicians whose lives are changed when they encounter Huehuecóyotl, the ancient trickster god of music, fate, and rebellion. Through him, they discover that the myths of the past were never just stories...  And now, as the world teeters towards collapse, Huehuecoyotl must help humans define their own future using the gifts he gave them, and hope it is enough to awaken ancient Gods to change the fate of the world. 

The Sixth Sun is a story about creation as resistance-  about how, even when the world feels beyond repair, the act of creating becomes an act of survival.

The Sixth Sun reminds us that to create is to defy extinction.  Imagination is what keeps us human, and connects us to the ideas that came before us while dreaming of what will come after us. 

If you're interested in an audio drama accompanied by tons of original artwork and animation, and a talented group of musicians and voice actors, please give us a shot!

We are a queer led and disabled led studio.

The Sixth Sun is a project produced by Coyote Studio, featuring the music of Canadian Indie icon Rich Aucoin, and created by Abigail Roscoe, a disabled Canadian Mexican artist who's own story of resilience is one she hopes to share with other creatives. This project is a celebration of creativity and resilience, and what it means to be a creative in this world. 

Hi!! So, so sorry for not answering sooner, but life happened lol. I’m struggling finding resources myself, considering that many were destroyed (thanks to colonization), or they were traditionally shared orally within our cultures. Some of the best resources I’ve found are often anthropology and history books, but I highly recommend doing research into the authors as well, and determine for yourself whether you trust them or not. From my own personal list here some:

Books:

Aztec & Maya: The Complete Illustrated History by Charles Phillips

The Oxford World Mythology by David Leeming

Mythology: Myths and Legends of the World by Dr. Alice Mills

Goddess Stories: Discover their mythology by Alison Davies (Has some Aztec and Native American goddesses, a Brazilian one too!)

Deck:

The Nahualli Animal Oracle Deck by Caelum Raineri and Ivory Andersen

YouTube:

Websites:

Kukulkan (Gukumatz)

Kukulkan is often regarded as a creator and civilizing god. As the Plumed Serpent, he embodies the union of earth and sky, water and wind – essentially a cosmic mediator. Quiché Maya lore (Popol Vuh) describes Gukumatz as one of the gods who spoke the world into existence, working alongside Huracan (Heart of Sky) to create humanity. He was counted among the thirteen deities who shaped the world.

After creation, Kukulkan/Gucumatz took on the role of culture hero: he is said to have taught humans the arts of civilization – law, agriculture, writing, medicine, fishing, etc., essentially all aspects of cultured life. This mirrors Itzamna’s portfolio, and indeed some traditions merge the two or consider Kukulkan an incarnation of Itzamna.

In Yucatec Maya history, Kukulkan was also the name of a legendary hero or group of people who arrived at Chichén Itzá, suggesting the god was a patron of certain Maya lineages or rulerships.

Astronomically, Kukulkan is strongly tied to Venus (the morning star). The feathered serpent has an evident presence in the Venus tables of the Dresden Codex – for example, Venus was often associated with warfare and upheaval, and the serpent could represent the sky omens. One could interpret the descending Kukulkan at equinox as Venus descending at dusk. Furthermore, as a wind god (by analogy to Quetzalcoatl-Ehecatl of the Aztecs), Kukulkan had sway over the breath of life and winds that bring rains or carry storms.

In Postclassic times, Kukulkan was at the center of a priesthood and oracles (like those at Mayapan) and became one of the most “universal” Maya gods, respected across many sites.

Kukulkan’s influence can be seen in the political and ceremonial life of the Postclassic Maya. Cities like Chichén Itzá and Mayapán dedicated major temples to him; worship of Kukulkan helped unite people, as he was a deity that transcended local city-gods and had pan-Maya appeal. This feathered serpent was invoked in royal ceremonies – rulers liked to trace connections to Kukulkan to bolster their authority, claiming to uphold the law and order that Kukulkan established.

For ordinary people, Kukulkan represented the promise of prosperity and knowledge. Farmers could see him in the timely wind that brought rain clouds; craftsmen and scribes might honor him when practicing their arts, since those arts were his gift. The equinox festival, when the shadow-serpent slithers down the pyramid, would draw crowds a time when the populace witnessed their god manifest in nature and architecture, renewing the covenant that planting season was to begin with divine favor.

Kukulkan was also believed to be a protector: stories tell that he ruled wisely and then departed with a promise to return. This gave hope in times of hardship that the Plumed Serpent’s return would restore order. In daily moral life, Kukulkan’s example as a lawgiver meant that codes of conduct and community laws were seen as sanctioned by the gods. Even after the Spanish conquest, the concept of a returning great lord persisted (some saw Cortés as a possible fulfillment), showing how deeply Kukulkan’s myth influenced the Maya mindset.

In essence, Kukulkan touched the Maya world by providing the foundations of their society and the reassurance that the cosmos was orderly and benevolent, as long as his teachings were honored.

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by Miguel Angel Espinoza

Playing as Mexican shapeshifting angel hunters.

A Powered by the Apocalypse game