Monument 65, thus far the largest sculpture discovered from the almost completely destroyed site of Kaminaljuyu, has much to tell us about the enigma of this ancient city. Carvings on two sides of the flat tablet resonate with the most sacred concepts of the “Miraflores” people of Late Preclassic Kaminaljuyu. Partly because of the highly problematical picture further field archaeology can provide of Kaminaljuyu—a picture already problematical—but also because of the inherent value of a comparative orientation, I employ an explicitly comparative approach in order to speculate about the ideology encoded on the monument. According to such a comparative perspective, the depictions identify Kaminaljuyu rulers as conventional world- or cosmos-creators and sustainers, functions realized by the sacrifices of royal proxy victims or “twins” of the ruler. The captive scenes, shown on Side A, represent the duality of rulership expressed in a twinship of first, immortal “priest” or administrator—the ruler in his religious role—sacrificing a victim representing a first ideal man or “king,” and, by virtue of this, representing the ever-dying or magical fertility of the polity. On Side B, the creation seems to be manifested or metaphorized by the axis mundi.