The survival horror genre is having a moment, and the latest contender, Crisol: Theater of Idols, isn’t just borrowing from established titles like Resident Evil and BioShock – it’s drawing heavily from a surprisingly specific cultural touchstone: the Spanish novela. Developed by Madrid-based Vermila Studios, Crisol is generating buzz not just for its gameplay, but for its unique atmosphere and the way it embraces melodrama.
For many Latine households, the novela is a constant presence. As writer Moises Taveras notes in a recent review, these soap operas are a staple alongside adobo seasoning, arroz con habichuelas, and religious iconography. They’re characterized by dramatic twists, reused sound effects (the infamous “boom” being a prime example), and a sprawling cast of archetypal characters. Crisol, it seems, aims to capture that same heightened sense of drama and camp within a horror framework.
The game centers around Gabriel, a soldier tasked with battling forces aligned with a sea god using weapons blessed by the sun god – and fueled by his own blood. This central mechanic, requiring players to sacrifice their own health to power their arsenal, is a compelling metaphor for the sacrifices demanded by zealous devotion. However, the game doesn’t shy away from the theatricality of its premise. The act of replenishing weapons with blood is visually striking, and the game’s enemies, often derived from Catholic imagery, are designed to be dramatically dismembered.
While the combat itself is described as “fine,” the real strength of Crisol lies in its performances and its willingness to lean into the absurd. The game is filled with a large cast, and while some characters get lost in the narrative shuffle, the voice acting – particularly in the original Spanish – is a standout. The reviewer highlights the performance of the actress portraying Dolores, a menacing antagonist, as particularly compelling. The dynamic between Gabriel and his ally, Mediodia, is also praised for its unexpected humor and the actors’ willingness to fully commit to the over-the-top nature of the script.
This blend of horror and melodrama isn’t without its challenges. The game occasionally struggles to balance its serious themes – religious persecution, sacrifice, and the cost of faith – with its more campy elements. The frequent use of dramatic sound cues, like the cuckoo sound accompanying the draining of animal blood, can feel jarring, oscillating between genuinely unsettling and unintentionally comical. However, it’s this very unevenness that feels most authentic to the novela experience, where dramatic highs and lows often coexist.
The game’s narrative, unfolding through flashbacks and vignettes, explores the violent history of Tormentosa, the island setting. These flashbacks, rendered in striking red silhouettes, reveal a conflict that has consumed the island and its inhabitants. While the sheer number of characters and subplots can be overwhelming, the strong performances and the game’s willingness to embrace its own theatricality keep the player engaged.
Crisol: Theater of Idols is a flawed but fascinating game. It doesn’t always succeed in balancing its ambitions, but its unique blend of survival horror and Spanish melodrama makes it a refreshing and memorable experience. It’s a game that isn’t afraid to be both terrifying and ridiculous, and it’s that willingness to embrace its own contradictions that makes it so compelling. Vermila Studios has created something genuinely different, and it’s a promising debut that suggests a bright future for the studio and for the genre.
The game’s success also highlights the growing demand for more diverse representation in gaming. By drawing so heavily from Spanish culture and folklore, and by featuring a fully Spanish-speaking cast, Crisol offers a perspective that is often missing from mainstream horror titles. It’s a reminder that We find countless stories waiting to be told, and that the most exciting games are often those that dare to be different.
