Last Updated on Mar 25, 2026 @ 16:05:02 PM.
Crisol: Theater of Idols opens strong. It’s dark, mysterious, the vibe is interesting and you’ll have zero clue what’s going on, much like its clear inspiration and cousin, Bioshock. Playing as Gabriel, you’re granted special blood-related powers (more on that later) by the Sun God, and tasked to investigate the dank island of Tormentosa, consequently removing false prophets and the rival religious sect. Pretty standard fare for survival horror games, so far, right?
Crisol: Theater of Idols certainly doesn’t hold back on the religious themes throughout its runtime. With Gabriel encountering a range of different characters, from priests sharing his beliefs and sect choices, to those on the other side of the religious fence, including Dolores, a menacing, hulking robot-woman-thing that’ll taunt and chase you during specific moments of the story. It all feels delightfully on point, no matter what you’re doing, where you are, what enemies are in front of you or area you’re in. You’ll always be immersed in the Crisol: Theater of Idols world. It may be inspired by the likes of Bioshock, but it’s still delightfully unique in its art style and atmosphere.
Gunplay, Blood and Dead Chickens
I need to be upfront here, because I did not enjoy the gunplay at all. Floaty, awkward, unsatisfying throughout. With or without the aim assist switched on, it constantly lacked a real punch, and just didn’t ever feel like the weapons had weight. It also resulted in some untimely and irritating deaths that wouldn’t have happened in other FPS-centric games. For the principle facet of a game’s gameplay to deliver so little is a pretty big issue, admittedly, but it is saved by a few caveats.
As mentioned up top, you’re tasked by the Sun God, as Gabriel, to clear the island of all the supposed heretics. To do this, you’re ‘gifted’ some powers, specifically that you can now use your own blood as a weapon. See before your eyes as your flintlock weapons transform them into something that’ll use your own blood as ammo, and this is one of the biggest saving graces to the game’s half-assed and poor gunplay.
It also extends beyond that of just looking cool, but is itself a gameplay mechanic you need to take notice of. Running low on ammo but also low on ammo? Well, there’s a choice for you. What weapons will you reload, sacrificing the little health you have remaining, in an attempt to survive? All of them? Some of them? None of them and try and use the – mostly – useless knife you’re given? Do too much and you’ll end up dying anyway, so unlike most FPS games, you’ll quickly drop the habit of reloading any spare second you have, and that extra layer further pulls you in to what the studio is trying to achieve.
Uncanny Valley
Now, Crisol: Theater of Idols both manages to nail it, and drop the ball, when it comes to the enemies you’ll encounter. From uncanny valley-like mannequins that saunter in an incredibly unnatural and unnerving tway towards you, to the gigantic Dolores who will make progress difficult, the enemies on offer fit well with the aesthetic. BUT. And that’s a big but, there’s just not enough variety. While those mannequins may have several different types, they’re all, in essence, the same enemy you’ll kill in the same way. Once you’ve gotten to grips with how to fight them, nothing changes enough throughout the story, enemy wise, to really trouble you again, and the novelty (and scare) rubs off pretty quickly. Honestly, Crisol: Theater of Idols really would have benefitted from several more enemy types, with different weaknesses and looks, but it clearly wasn’t meant to be.
Up to now I’ve not mentioned much of the story, and, whilst it’s not going to break down any barriers for outstanding stories, it is more than serviceable, and kept me hooked to see what was going to happen at the next juncture. From the opening moments that’ll again, have you in mind of the OG Bioshock, to the stalking Dolores, or the Three Mermaids, you’ll always have enough going on to keep you interested in that regard.
If not for lacklustre gunplay, with some genuinely baffling decisions made there, Crisol: Theater of Idols would be getting a much higher score. However, despite that pretty large shortcoming, the immersive atmosphere, great art style and less than pleasant enemies (albeit not enough variety) more than ‘saves’ it. The fact that it was such a small team, and small budget, that produced it also makes it a little easier to swallow its shortcomings.
Crisol: Theater of Idols
Crisol is a survival horror adventure set in a twisted version of Spain. As a soldier captured by religious dogmatism, you must use your own blood as ammunition, without draining to the point of death. Explore the cursed island of Tormentosa, uncover dark secrets, and battle horrifying enemies.
Summary
If you’re looking for the next Bioshock, you’ll be looking in the right place, as long as you’re not expecting a super long adventure, or particularly engaging or satisfying gunplay. Atmosphere, art style, and a constant sense of dread over your own blood will keep you coming back for more, or at least, it has for me.
HOURS PLAYED: 14
PLAYED ON: PS5
- Immersive environments, art style and somewhat interesting puzzles.
- Blood mechanic is a great shout, and very well implemented.
- Bland gunplay.
- More enemy variety needed.
For more from us, check out our review of Romeo is a Dead Man, or our thoughts on the incredible latest release from Capcom.
Luke Addison is the Founder and Editor-in-Chief of Thumb Wars. Having previously been a part of multiple outlets over the years, including building an entire gaming team from nothing to something, he thought it best to forge his own path and answer only to himself. As likely to be found playing the latest game as he is in the kitchen relaxing (by cooking), he always brings the same bold and brash attitude to everything he does, with a heavy leaning on sarcasm and dry wit!
