The Last Train: Baquedano is a psychological first-person horror game that transforms a familiar everyday activity into a source of tension. The premise is simple: fall asleep on the underground, wake up at the end of the line, and realise that the station has been abandoned. From there, the game builds a compact yet focused horror experience based on atmosphere, sound design and narrative context rather than action-packed encounters.

The abandoned station is the game’s strongest asset. Platforms, tunnels, control rooms and maintenance corridors are rendered with enough realism to feel authentic without being visually overwhelming. Players often have to rely on shadows and sounds to understand their surroundings. This approach lends the station a sense of permanence, as if life there had simply ceased, rather than the space having been built for horror.

Audio plays a major role in amplifying the sense of isolation. Distant echoes, shuffling footsteps and ambient sounds draw the player’s attention without providing intrusive clues. The game uses silence effectively, allowing long periods of quiet to build unease before introducing movement. Something that many games nowadays mostly fail to do. This pacing helps maintain tension even when nothing obvious is happening, which accounts for much of the psychological weight.

One of the more unusual design choices in The Last Train: Baquedano is the use of Tung Tung Sahur, a character widely recognised from internet culture. In most contexts, the character is associated with humour or absurdity, but here this familiarity is reinterpreted as something menacing. Rather than relying on constant jump scares, the game builds fear through anticipation. Knowing that something is nearby, hearing it before seeing it, and recognising it as something that does not belong in the space all contribute to the tension. It is less about shock and more about awareness, which aligns with the game’s overall focus on psychological pressure rather than action.

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The gameplay in The Last Train: Baquedano focuses on movement, observation and simple puzzles. Players are encouraged to explore carefully and search side rooms and hidden areas for clues that hint at what happened to the station and why the player is there. There is no heavy combat system, which directs attention towards the environment and the story rather than mechanical complexity.

Environmental storytelling carries the bulk of the narrative load. Objects, notes, the layout design and audio cues provide fragments of information without explaining everything. This approach allows players to interpret events for themselves, which fits well with the structure of psychological horror.

The game features multiple different endings, each shaped by the way players explore and interact with the environment. These endings do not simply change a final scene, but add context to what the station represents and what actually happened during the journey.

This structure encourages replayability without dragging out the experience. Players who return can uncover additional layers of meaning rather than repeating identical content. The narrative becomes clearer with each ending, but it never completely eliminates ambiguity, which fits with the game’s themes of uncertainty and perception. For example: In order to get one ending you have to find all the shark pools in order to trigger something special. Finding certain endings take roundabout 20-30 minutes depending on what you're doing and they're not hard to achieve.


THE LAST TRAIN: Baquedano is a carefully crafted psychological horror game that thrives on strange uneasiness, atmosphere, and restraint. It stands out among independent horror games because of its skillful utilization of a familiar location transformed into something hostile and its emphasis on mood rather than mechanics. Those who enjoy slow-burn tension and environmental storytelling will find much to love, even though its brief runtime and limited mechanics might not be to everyone's taste.

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