If you look at it the right way, Enotria: The Last Song is Bloodborne after the sun's risen. Its world, inspired by the theater scene of Renaissance Italy, is drenched in golden light and filled with color. As you walk the streets of the Quinta, the first city you encounter, you'll find actors mocking each other in verse, musicians playing in loose groups, and marketplaces overflowing with sweet treats and clay amphoras of wine.
Scratch beneath the apparently good life of the place, however, and you soon find the people are trapped in a horror equal to Bloodborne's Yharnam – even if Enotria itself doesn't live up to the inspiration. You begin Enotria as the maskless one; in a world trapped in an eternal scripted performance, you are the only one without a role, free to make your own decisions. Granted, most of the decisions you make involve killing things, namely the key players who set the eternal performance going.
However, it is for a good cause, if you can kill all the bosses that put the world into stasis, you might be able to put Enotria's world into motion again. Filling the fields, caves, cloisters, and city streets of Enotria are deadly enemies, each able to cut you down in a few unblocked strikes. To progress, you must be cautious and learn to time your attacks, parries, and dodges to survive.
Dotted along the paths you travel, you'll find rest points where you can upgrade your character with the resources you've earned and refill your health bar and limited healt.