Enotria: The Last Song

After the patching it’s undergone in the last several months, Enotria: The Last Long is a solid Soulslike for not just hardcore Souls fans, but for anyone that likes a third person action RPG with a beautiful visual and aural presentation. For me, it falls somewhere in the middle of the pack in terms of Souls games that I have played; I liked the old, and new, Lords of the Fallen better, and Lies of P — but Enotria is significantly better above Mortal Shell and Thymesia. Ultimately, I’m happy to recommend it.

Tweet Share Share By Thom Stone on October 9, 2024 in Reviews (Italian) Chef’s Kiss HIGH Visual variety and fresh gameplay breathe new life into an oversaturated genre. LOW Lack of multiplayer. Some original ideas are underutilized. WTF You call that a final boss? Over the past decade, countless titles inspired by FromSoftware’s Souls have come and gone, but few have managed to stand out from the crowd or even meet the bar that’s been set, especially now that it’s been raised once again by the wildly successful Elden Ring DLC, Shadow of the Erdtree. Enter Enotria — a new and soon-to-be classic third-person soulslike from Italian studio Jyamma Games that dares to be different by drawing inspiration not only from FromSoftware, but also the rich cultural traditions and aesthetic appeal of Italy. Enotria is a world populated by people trapped in a never-ending play, doomed to perform their roles according to a script they didn’t write. This fate is interrupted by the player in the role of the Maskless One — he enters the scene as a mere puppet, but will ultimately go on to liberate the unwilling actors. This theatrical concept works well as a device to explain the reason why NPCs are stuck in a loop of performing scenes on the shoreline or dancing in the street to a melody that can be heard in various forms throughout the city of Quinta. According to Jyamma Games, the city of Quinta and its surrounding area were inspired by Tuscany, and this can be observed in small details like traditional Italian dishes found on tables, and imposing structures like the Church of Maja where the player must face their first boss. The virtual tour of Italy continues with later areas that are reminiscent of Venice (Litumnia) and Sicily (Falesia Magna). The combat is fast-paced and requires not just skill, but patience. The third-person perspective allows the player to see a broad view of their enemies and surrounding environment which allows them to telegraph enemy move patterns, tactfully dodging or parrying their attacks before going in for a strike, but they must also know when to step back and conserve stamina. Landing an attack charges (at varying speeds) up to four “mask lines” which are special attacks that deal different kinds of damage known as Ardore, which can be especially effective against certain enemies. A crucial piece of the gameplay for players to understand and take advantage of is that they get up to three loadouts which allow them to equip separate sets of weapons, quick items, mask lines and masks. Unlocking certain branches on Enotria‘s skill tree allows the player to select abilities to suit their style, like staggering weaker enemies whenever they successfully dodge an attack. Although the player can only alter the equipment, skills and abilities for each loadout at a checkpoint, they can switch between their loadouts on the fly, which is helpful when facing different types of enemies in a given area. There are many masks that can be acquired throughout the adventure. Some will be received upon defeating a boss, but the majority can only be crafted after collecting a certain amount of mask shards. It was satisfying to piece them all together and make my first mask — the Gardener. I automatically received it after farming gardeners (an enemy type that appears in the first area) and one of its effects is that it makes a certain healing item more effective. Later in the adventure, players can gather enough boss mask shards to make their corresponding masks which allows the player to use some of their abilities as mask lines. Apart from the masks, one of the most important mechanics is the elemental system which functions much like rock-paper-scissors. Certain mask lines or weapons infused with an element will be especially effective against an enemy aligned with another. For example, Vis, a status effect that inflicts dizzying damage, is super effective against enemies aligned with the poison effect, Malanno. Midway through the campaign I fought a god named Veltha, God of Strife who was aligned with Gratia (holy damage) but weak to Malanno, so I maxed out my favorite Malanno weapon and took pleasure as I watched her stagger and suffer from poison damage every time one of my attacks landed. Leveraging this vulnerability didn’t mean the fight was quick work, but it was significantly easier to wear her down than by using the other weapons in my arsenal. The level of difficulty presented by bosses like Veltha (both a powerful ranged fighter and relentless swordswoman) was on par with other Soulsbornes, which is to say, very high. Thus, players who are new to the genre will need to learn the basics quickly if they are to progress. When it starts to feel impossible, they can always farm currency from enemies and use it to upgrade their equipment or level up before taking another stab at whatever boss they’re stuck on. Speaking of bosses, most of Enotria‘s were guilty of one cardinal sin or another, and for some, their vices manifest physically, such as the gluttonous cannibal Zanni who had feasted on fellow actors and turned into a balloon of a man with multiple mouths and an insatiable appetite. It was a delightfully horrifying and imaginative monster design. However, one of my favorite battles was the duo boss fight starring Balanzone and Pantalone. Rather than strong and silent types as many soulslike bosses are, they were a comically dysfunctional pair, often damaging each other when trying to attack me while bickering throughout the fight, voicing their self-interest and avarice. Shockingly, the final boss proved to be the most underwhelming boss fight of the whole campaign. His attacks were fairly predictable and not much changed during his multiple phases, except that a few ranged attacks were added. At no point did I have to significantly change my approach — it was mostly just a matter of pulling it off. While the majority of Enotria is excellent, this mediocre final encounter was just one of a few things that left me feeling underwhelmed when all was said and done. Even though I didn’t need any help on the final boss, there were a few that made me wish I did. Summoning friends and strangers alike is one of the things I enjoy most about soulslikes, as it adds to the feeling of “jolly cooperation” — a big part of what makes these titles so special to me. Unfortunately, there’s no online or multiplayer of any kind to be found here. There were also a few underutilized mechanics that are unique to Enotria, like the Ardore Burst — a stomp that staggers enemies and materializes platforms and ladders when the player stomps on a gold seal, allowing them to reach previously unreachable areas. Whenever I saw one, I’d be filled with the spirit of adventure and feel excited to see where it would take me. Sadly, they’re all too rare. It’s also worth mentioning that during my time with Enotria, I encountered some sudden difficulty spikes and observed some enemies with odd AI pathing getting stuck in certain places. The devs have since released a patch to address these issues and they plan to release more fixes in the near future. Ultimately, my time with Enotria: The Last Song was fantastic. The unconventional Italian theming swept me off my feet, and the gameplay was pleasantly familiar, yet offered enough differences and new ideas to let it stand on its own. If any Souls fans are looking for something to lighten up the dark autumn days that lie ahead, they should consider this summery theatrical adventure their remedy.

Enotria: The Last Song is a Souls-like experience that takes a lot of big swings, and while there are a few hiccups along the way, a lot of these risks pay off. The freedom to experiment with builds, plan ahead with pre-set Loadouts, and take on the roles of your fallen enemies are all standout features that set this title apart. Which Enotria backs up with impressive visuals, a compelling Italian folklore-inspired world, and several memorable bosses. Sadly, performance issues, a lack of genuine, consistent challenge, and some systems that flatter to deceive stop this game from being a truly iconic game within the sub-genre, but when the curtain closes, and the actors take their final bow, I feel plenty in the audience will be throwing roses and applauding regardless.

Enotria: The Last Song tends to get lost in its own ambitions. While it breathes fresh air into the grim and hopeless apocalypses souls-likes tend to portray, the additions to the combat and character customization tend to weigh it down. Despite a generally more forgiving difficulty than many other titles, the sheer volume of things to keep track of make this a souls-like best suited for fans of the genre.

Inspired by the classics from FromSoftware, Enotria stands out for its deep connection to Italian folklore, celebrating the natural wonders of our land and its rich cultural, theatrical, and musical traditions.

Enotria: The Last Song is a beautifully Italian-inspired Souls-like that perfectly captures the theme of "Summer Souls," offering punishing combat and an intricate story, all set in a stunning world. While the game suffers from a few glaring flaws, it shows strong potential to become a recognized entry in the Souls-like genre.

Despite some flaws (even significant ones) that we hope future updates can resolve, Enotria: The Last Song proves to be a souls-like game with a distinct personality, both in its artistic and environmental characterization and in its gameplay, which has several well-conceived ideas. Not everything shines as we had hoped, but if there's one thing the game doesn't lack, it's courage.

If you’re looking for a new Soulslike experience and willing to tolerate some notable negatives all the while experiencing a very unique setting, it’s a decent time. It’s a bit difficult to recommend to a more casual audience, but if you’re seeking a challenge, albeit not necessarily intentionally, Enotria is a decent time. Enotria: The Last Song has its share of issues, but I’d wager it’s a great first step for Jyamma Games in this style, and I can only imagine they’ll make something even better with the next release.

Enotria: The Last Song’s delightful setting, theatre-infused narrative, and mechanical depth help it stand out from the very crowded Soulslike landscape. On the flip side, that depth translates to sometimes poorly explained, unnecessary-feeling complications. Strip all that away, and Enotria: The Last Song is still an enjoyable action RPG that should appeal to almost every fan of the genre.

Enotria: The Last Song is a solid soulslike with a unique, appealing identity, which is plenty to paper over the rough spots on the quest to free the world from a script nobody asked for.

While the story and graphics were convincing, the gameplay, boss design and enemy variety were not. Enotria isn't really bad, but it's not really good either, and is therefore somewhere in the middle of the crowded Souls genre.

Whether you love Italian folklore, architecture, music, or just want to explore a new souls-like, Enotria: The Last Song, is a title you’ll want to pick up. It features easy to pick up combat mechanics, a spin on parrying, and a fully detailed world filled with foes to defeat.

There is a lot of beauty in Enotria: The Last Song and Jyamma Games deserves to be commended for its efforts to stand out in a saturated market. With immersive connections to Italian folklore and an adoring love of subgenre, Soulslike fans will certainly enjoy the world of challenge. But while the combat is innovative it could use some polish.

Enotria: The Last Song is a compelling little soulslike which has enough of its own identity to be worth a recommendation, even if not all of its elements individually work as well. The emphasis on the game’s melee combat leaves its magic system a little clunky, and despite an impressive amount of flexibility in the game’s RPG mechanics, the ability to swap between different loadouts mid-combat wasn’t all that useful. Despite these minor drawbacks, the challenging boss fights, gorgeous art direction and fun exploration make this a worthwhile addition to any soulslike fan’s library.

Enotria: The Last Song is a faithful recreation of the original Souls games with a fresh new coat of Italian paint, and it brings with it enough personality and mechanics to stand on its own two feet. Unfortunately, the experience is held back by performance issues, bugs, and a lack of enemy variety for difficulty.

Enotria: The Last Song is a solid entry to the genre. Its beautiful design, deep customization, and satisfying gameplay invite players to experience its take on the soulslike formula.

Enotria: The Last Song is a work that stands out for its visual beauty and thematic originality, but it fails to reach the level of execution necessary in its gameplay. The mask system, although innovative, is not well balanced, and combat, an essential pillar in any Souls-like, is hampered by imprecise controls and mechanics that limit the player's freedom. The narrative, although intriguing, fails to develop in a coherent way, leaving the player with more questions than answers.

Aside from the fundamentals of combat, Enotria: The Last Song really tries to step outside of the box when it comes to dressing up the standard soulslike. The sun-drenched environments and wild, Italian folklore-inspired character designs are a real breath of fresh air straight from Italy’s Alps. Combat is fun, even when the difficulty spikes unexpectedly (since most of those fights are optional anyway) and despite the bloat of many, many systems that govern all of the more nuanced abilities and stats. The unapproachability of its RPG systems, and the wonky performance when a smooth frame rate matters the most are what really prevent Enotria from taking center stage.

Enotria:The Last Song is not without creativity or design potential. However, for an inexperienced development team, creating such a large-scale Souls-like game may have been overly ambitious. Poor balance, a wildly inconsistent difficulty curve, and the overwhelmingly negative combat experience overshadow the game's more impressive features, such as elemental statuses, skill build slots, and gear-switching mechanics.

Enotria: The Last Song is a beautiful, weird tale that almost nailed the gameplay and customization side of a Soulslike. It is by no means a bad game, it’s just not one I can easily recommend for all but the most ardent players of the genre.

For all its faults, Enotria: The Last Song is a pretty decent Souls-like, but it doesn't know how to use its ideas, which deprives it of any chance of standing out. Rather than promoting radically different styles of play, the configurations are limited to offering a little optimization at best. Combat balancing problems and its limited lifespan are also major black spots, in a genre rich in titles of far better quality, for a not-so-different price.

All things considered, Jyamma Games' Italian soulslike gave us mixed feelings: the bright side of the coin is made up of a pleasant plot, a first-rate artistic component and a quality soundtrack, while the darker side is made up of design issues related to the bosses and a gameplay formula that is not always well-balanced. Even leaving aside the technical uncertainties that could be resolved with a series of targeted updates, Enotria: The Last Song seemed to us to be a half-successful project, but between the lines it is still easy to glimpse the development team's potential.

Enotria: The Last Song deserves full marks, we are absolutely certain of this. But it is a title full of imperfections: this too is undeniable. Imperfections that denote a certain inexperience of the development team who chose to risk too much, to launch themselves into one of the most complex genres of the current videogame market, where there are some practically unattainable progenitors and a small handful of other exponents who, with difficulty, they did it. Unfortunately, Enotria is very far from all of these and although it offers an experience that, we are sure, will give some satisfaction to those who need to play at least one soulslike a month, it does not allow us to overlook all the problems associated with its game mechanics and the experience it offers. Our hope is that the team takes advantage of the criticism and launches headlong into a sequel capable of drastically improving every single aspect of the game while maintaining a certainly very fascinating imagery.

Thanks to its unusual source material and sunny setting, Enotria: The Last Song looks like a fresh take on a genre so often set deep in gothic nights. Unfortunately, beneath the mask, there's little that sets it apart from other, better games.

Italian folklore makes for a unique setting, but Enotria lacks the smooth combat and smart mechanics you'd look for in a decent soulslike.