Crisol: Theater of Idols — Review: An Imperfect but Personality-Filled Debut

Vermila Studios debuts with Crisol: Theater of Idols, a first-person survival horror that looks to the old school of the genre, yet strives to build its own identity through a very particular art direction and some decidedly interesting gameplay ideas.

The Spanish team, founded in 2020 by David Carrasco and David Tornero, arrives at this project after developing an initial prototype and securing an Epic MegaGrant. Crisol thus represents the studio's first video game, and considering the scale of the production, its ambitions are far from modest.

Published by Blumhouse Games, the title focuses primarily on atmosphere, exploration, and a combat system built around a very peculiar resource: blood. And it is precisely this choice that gives Crisol its most recognizable characteristic. 

Tormentosa, the Cult of the Sun God, and a Lore Rich in Spanish Folklore

The story takes us to Tormentosa, an island belonging to an alternative Spain where traditions, religion, and folklore become an integral part of the horror.

As Gabriel, a soldier tied to the cult of the Sun God, we will progressively find ourselves involved in a situation much larger than the simple initial mission. The adventure leads us through cults, deities, sacrifices, and secrets that contribute to building a rather rich mythology.

And it is precisely the lore that is one of the game's strengths, because Crisol has something to tell and does so through environments, documents, and the many details scattered during exploration. Tormentosa is not just a container for events, but an integral part of the narrative.

The real problem is the pacing. The story alternates particularly successful moments, where narrative tension reaches remarkable peaks, with others where the pace slows down and engagement inevitably tends to drop. It is not a component that compromises the adventure, but this discontinuity is felt especially as you progress.

The foundation, however, remains interesting and hints at a lore that could have been further explored. 

The blood-based reload system is brilliant—the rest is less convincing

The gameplay is probably the most interesting aspect of Crisol, especially for one very specific reason: the blood-related mechanic.

The protagonist's blood is simultaneously a resource for survival and a true form of ammunition. Firearms use blood to function, and this means that every encounter forces us to carefully manage a resource that also represents our energy.

It's an intelligent system because it constantly puts the player in front of a choice: either consume blood to quickly eliminate an enemy or conserve it and approach the situation more cautiously.

Melee weapons also fit perfectly into this philosophy and contribute to creating a particular combat system where every resource has weight.

In my opinion, it's an atomic blast, because it's not just a simple aesthetic gimmick.

Blood is integrated directly into the mechanics and becomes a fundamental part of the experience. 

The level design also works very well. Exploration, interconnected environments, puzzles, and resource scavenging clearly recall the structure of classic survival horror games and give the player a good sense of progression.

It's a shame that the combat isn't always up to the idea that underpins it. Movements and animations are sometimes a bit clunky, and some interactions lack the precision one would expect from a more polished production.

However, it must be considered that this is Vermila Studios' first game, and some limitations are probably also the result of a limited budget and the team's lack of experience.

Another element that is less convincing is the variety of enemies. Some creatures are excellently integrated into the game's universe, but the bestiary would certainly have benefited from greater diversity. 

Crisol's technical department is the true soul of the game, but limitations exist

If there's one aspect where Crisol immediately captivates, it's the artistic one.

Tormentosa is splendid.

The setting, the temporal reference, the architecture, Spanish folklore, and the religious component are blended with great personality. The game manages to build a recognizable world that is, above all, different from the usual.

Statues, places of worship, buildings, and environments contribute to creating a constantly unsettling atmosphere, without necessarily resorting to continuous cheap scares.

The art direction is probably one of the elements that best convey how much potential lies behind this project.

But the real surprise comes from the audio department.

The sound design is masterful. Environmental noises, weapon effects, creature sounds, and music contribute fundamentally to the tension. At various moments, it is precisely what we hear that makes an environment unsettling even before anything happens.

Unfortunately, alongside these positive aspects, we find some noticeable technical problems.

Animations, movements, and some interactions show the limitations of an independent production and the first project from a still-young studio. These are not flaws that ruin the experience, but they are evident enough to prevent the game from reaching the level of polish that could have transformed it into something truly exceptional.

And this is the real regret.

With a few more months of work, greater refinement, and some technical adjustments, Crisol could have made an enormous qualitative leap.

To this, another absence is added which, personally, I consider important: Italian localization.

The dialogues are not numerous, but the story and especially the lore have significant weight in the adventure. Those who do not have a good knowledge of English might therefore miss some passages and useful information to fully understand what is happening.