Enotria: The Last Song

I went into Enotria: The Last Song hoping it would be the soulslike that finally proved the genre could thrive outside perpetual gloom, and the good news is that its world absolutely earns that pitch. Jyamma Games has built something visually unlike anything else in the genre, pulling from commedia dell'arte theatrical tradition and Italian Renaissance landscapes to produce sandy beaches, carnivalesque costumes, and rustic sun-drenched towns that are genuinely a pleasure to move through. If you have ever wished FromSoftware would swap fog-laden castles for something that looks like a Caravaggio painting gone feral, this is the closest you will get. The central hook is the mask and loadout system, and on paper it is genuinely interesting. You play as the Maskless One, collecting masks stripped from fallen enemies, each granting different playstyle modifiers and Mask Lines, which are special elemental attacks charged up by landing regular hits. You can carry up to three fully configured loadouts and swap between them on the fly mid-combat, without the penalty of a respec, which is a smart quality-of-life call that most genre peers still refuse to make. The Path of Innovators skill tree holds 68 unlockable perks across branches like Battlemage and Elementalist, and there is a melee build and an Ardore elemental build to develop separately or in tandem. The Ardore system itself goes further, letting you shift environmental states through Rifts to change enemy behaviors, reveal hidden paths, or alter combat conditions in real time. On paper, that is a lot of interesting levers. In practice, the execution wobbles. Combat lacks the crisp tactile feedback that makes parry-focused soulslikes satisfying to master. The parry window is reportedly forgiving on standard enemies, but boss encounters demand precision that the control response does not always reward cleanly. Several critics noted that the combat feels weightless, and the clutter of Italian-named status effects, item categories, and Virtue stats creates an onboarding fog that the game never quite clears. The narrative, set against the backdrop of a world trapped by the Canovaccio, an all-powerful theatrical script enforced by beings called the Authors, has an atmospheric premise that hints at interesting lore. But the storytelling does not develop it as cohesively as the setup deserves, leaving more unanswered threads than satisfying payoffs. For an RPG specialist like me, a world this thematically rich failing to land its story beats is the sharpest disappointment here. The positives are real and worth weighing honestly. The artistic direction is first-rate, the soundtrack earns its praise, and the Story Mode option makes the experience accessible to players who want the world without the punishment. The loadout flexibility is a genuine structural advantage over many genre contemporaries, and players willing to push through the systems confusion will find meaningful build variety between pure melee, Battlemage, and Ardore elemental paths. The Ardore Burst stomp mechanic, which staggers nearby enemies and materializes platforms, is the kind of clever environmental trick the game needed more of. There are also no co-op options, which is a notable gap for players who treat soulslikes as shared suffering. Enotria: The Last Song is a debut-studio soulslike punching above its weight in art direction and below it in combat feel. If you are primarily chasing build theory and a genuinely fresh setting, there is enough here to hold your attention. If polished combat rhythm is your baseline requirement, you will hit a ceiling and feel it.

Monika · Scout Team

RPGs

Be the first to comment on Enotria: The Last Song.