Back at Tokyo Game Show in September, I had the chance to sit down with David Carrasco, the CEO and co-founder of Vermila Studios and the executive producer on the upcoming *Crisol: Theater of Idols*. The game is a survival horror first-person shooter that leans heavily into both survival and horror elements.
*Crisol* takes place on the Island of Tormentosa in Hispania—a nightmarish version of Spain, tainted by corrupting religion and a blood curse that fuels your weapons and health.
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### A Blumhouse Games Beat
Over the last two years, I feel like I’ve been following something of a Blumhouse Games beat. I spoke with team members from the high school-set *Fear The Spotlight* at Summer Games Fest 2024 in LA, when the publisher made its major debut in the gaming industry. Since then, I’ve interviewed the creators behind *The Eyes of Hellfire*, a gothic Irish multiplayer game.
As a big horror fan, I’m by no means complaining. In fact, I’ve been continually impressed by how unique and singular each game signed by Blumhouse has felt, despite all belonging to the same wider genre.
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### Blumhouse Brethren
When I asked Carrasco why the Hollywood-based publisher sought out his and his peers’ games, he explained, “I’m not Blumhouse, I cannot speak for them, but I think what is really important for them is that you have vision. That you are not just making a game, but that your game tries to explain something and has an essence.”
Regarding how developers achieve this, Carrasco said, “In many cases, you speak from what you know, and we know Spanish folklore.”
*Crisol* doesn’t just focus on folklore, but also on the scars left by Spain’s complex relationship with religion—from Paganism to Catholicism. This is explored through two fictional groups in-game: one, a “religion of the sun,” and the other, “the cult of the sea.”
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### Navigating Controversy
In an era when games worldwide are canceled mid-production due to an “increasingly intense” US political climate, I asked Carrasco if convincing a publisher to support a game with potentially controversial topics inspired by real political and religious history was difficult.
He responded, “We discussed [with Blumhouse] that it was [inspired by] Spanish folklore, but you didn’t need to know anything about it. It would be interesting even if you didn’t study Spanish history.”
While Blumhouse seemed receptive, Carrasco explained that not every publisher shared the same enthusiasm. “Some publishers we visited wanted to remove some of it or wondered whether someone without that connection would be interested [in the game].”
This aspect of the pitching process frustrated Carrasco. He pointed out that players can overcome cultural hurdles if a game hooks them with gameplay, style, or premise.
“Some people don’t know anything about Samurai or Japanese culture,” he said, “but then you play and get excited because it’s so exotic, unique, and different.”
From there, players begin to learn and understand what makes different cultures interesting through immersion.
“It’s a way to introduce — in our case, this is not Spain. It’s a completely twisted version — but there’s a lot of Spanish flavor. We’ve taken elements from different eras, regions, and art styles to give you a glimpse, an idea like, ‘Oh, I’d like to know more about this. Where did it come from? Maybe I can visit Spain someday and discover the cathedrals and how they connect with the *Crisol* version.’”
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### Connected to Faith
Some of the influences Carrasco mentioned are immediately visible if you watch a trailer or play the demo. The first-person horror and monsters stalking you through locations clearly draw from *Resident Evil* games, while the shooting and light stealth integrate highly animated *Bioshock*-style gunplay and immersive sim elements.
However, I wanted to learn more about some inspirations that players might not recognize as quickly. I asked Carrasco about the driving forces behind *Crisol*’s unique world design and if there were particular parts of Spanish history or folklore that influenced it.
He explained, “In terms of art design, we really wanted to have coherence. Sometimes you play games that are fun, but you notice they didn’t invest the same amount of time or effort in art direction, where something doesn’t feel connected to the environment, or you wonder, ‘Why is this person dressed like that?’”
To avoid this, the team created cultures and locations that made sense within the world and connected to each other cohesively.
“We put a lot of effort into crafting a coherent, structured art direction. In Tormentosa, there’s the Cult of the Sea — so everything has that sea connection, whether in color, shape, or decorations. Nothing feels out of place.”
He was quick to highlight the meaning behind the name *Crisol*, which means “crucible,” like a place where many things are mixed.
“We mixed many elements from different parts of Spain but didn’t want them to stand out as weird or out of context, like, ‘Oh, this cathedral does not belong here.’ So, we spent a lot of time making it feel natural.”
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### It’s in the Blood
Most of *Crisol*’s gameplay elements have recognizable inspirations, but one mechanic feels wholly singular.
In *Crisol*, unlike other survival horror games with guns, you don’t scavenge for ammunition—your own blood acts as your bullets and your lifeblood.
If your gold-encrusted shotgun runs dry, you can transmute a chunk of your health bar into ammo, hoping to land a clean hit on a stalking enemy.
Occasionally, as you come across rotting corpses, you might find something fresh enough to absorb their hemoglobin (presumably) into your health, then redistribute it into your weapons.
This risk/reward balance consolidates health and ammo management into one resource, forcing you to make tough decisions.
Carrasco shared the thought process behind this mechanic from two perspectives.
“First, survival horror games have slowly become less about survival and more about action. They give you abundant ammunition and powerful weapons, so the horror becomes less challenging. The creatures attacking you are eventually defeat-able.”
He elaborated, “By adding the blood mechanic, you always have to monitor your health, decide which weapon is best for each enemy, assess the number of enemies on screen, and decide how to approach each situation.”
But beyond gameplay, the team was drawn to the idea because of its striking iconography and narrative integration.
“The more religious aspect is how you sacrifice your blood to your god to defeat enemies.”
Carrasco described creating ammo almost like a sacrament: “You take your blood and make it divine, turning it into a weapon that can defeat the monstrosities attacking you.”
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### Reveling in Rare Reliquaries
Layering religious imagery onto gameplay to create atmosphere is a recurring theme in *Crisol*, and something the team often discovered naturally during research.
This is especially evident in the game’s ornate weaponry.
When you first pick up a revolver or shotgun in *Crisol*, they look relatively standard. But when the soldier of the religious order you play infuses his blood into a gun, it becomes encrusted with jewels and a golden finish, reminiscent of a 16th-century religious sceptre.
Carrasco shared the real-world inspiration behind this transformation.
“As we dug into religious history, we discovered a lot about saints and how they preserve relics.”
He explained that your weapons are akin to reliquaries — containers for the divine that in the real world house remains or items belonging to saints or divine figures.
“The materials are the same — gold, ivory, expensive wood — creating stark contrast with the weapons you find. The blood is what is divine, holding that divine element inside.”
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### Meaning Beyond Controversy
All of this combines to create something meaningful.
This isn’t religious imagery used simply to court controversy or grab headlines. Carrasco and Vermila Studios seem genuinely invested in exploring and breaking down religious ideas through gameplay and worldbuilding.
The result is a game that feels authentic to its regional inspiration while willing to comment on the history and culture it represents.
I can’t wait to see where these ideas take *Crisol* when it releases.
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*This preview is based on a PC demo played on-site at Tokyo Game Show in Japan. The final product is subject to change.*
https://www.shacknews.com/article/146730/crisol-theater-of-idols-isnt-shying-away-from-its-horrific-religious-themes-and-that-is-what-makes-it-so-interesting
