Last Stop is three stories in one, and that is both the pitch and the problem. Variable State’s supernatural adventure game, published by Annapurna Interactive, puts you in present-day London as three separate characters whose lives collide during a crisis. It came out in 2021 for Xbox Series X|S, PlayStation 4, PlayStation 5, Xbox One, Nintendo Switch and PC. The published critical score sits at 7.2 out of 10 across six outlets.
Trailer, via Annapurna Interactive.
Three Strangers in Present-Day London
The setup is an anthology drama. You play as three people, and the game cuts between their separate stories before the threads meet. Last Stop is a single-player, third-person game. You control one of the three main characters at a time.
The developer’s own description frames it as a game about secret lives and the ties that bind, and about how magic can be found in the mundane. That last phrase is doing a lot of work. It tells you the supernatural element is meant to sit inside ordinary London life, not replace it.
Variable State built the game in partnership with Annapurna Interactive. The original soundtrack comes from composer Lyndon Holland, a BAFTA award winner.
What You Actually Do
Mechanically, Last Stop is thin on purpose. You decide what the characters should say. You also perform a variety of minigame interactions. That is the whole loop: choose dialogue, then do a small task.
There is no combat system to learn and no open world to cross. The game is a narrative adventure in the Indie and Adventure genres, carrying Action and Drama themes. The third-person perspective keeps you behind the character rather than inside their head.
This looks like a deliberate trade. The design leans on writing and performance rather than on systems. Whether that trade pays off depends entirely on whether the three stories hold you.
The Cast of Three
The three characters arrive as strangers to each other. The game asks what connects them and where fate will lead them. That question is the engine of the plot.
Because Last Stop is an anthology, each character carries a separate tone and a separate set of problems. The collision is the payoff. The supernatural crisis is what forces the three worlds together.
This structure is the game’s best idea and its riskiest one. Three stories means three openings, three sets of stakes, and three chances for a player to lose interest in one thread while waiting on another.
Where Last Stop Sits
| Element | What Last Stop Does |
|---|---|
| Structure | Three separate stories in one anthology |
| Player control | Decide dialogue and perform minigame interactions |
| Perspective | Third person |
| Setting | Present-day London |
| Soundtrack | Original score by Lyndon Holland |
| Platforms | Xbox Series X|S, PS4, PS5, Xbox One, Switch, PC |
The table makes the shape clear. Last Stop is not trying to be a big systems-driven game. It is a dialogue-and-minigame machine wrapped around three character studies.
The Score, and What It Means
7.2 out of 10 is a fair landing spot for this. The aggregate comes from six outlets, so it reflects a small sample rather than a broad consensus. Read it as a signal, not a verdict carved in stone.
The number tells you the game is good without being essential. Nothing in the description suggests a broken product or a misfire. It suggests a game that does one thing well and does not try to do everything.
What Holds and What Doesn’t
The strongest choice here is the anthology format paired with a mundane present-day London. The game does not chase spectacle the way a supernatural premise usually invites. Last Stop runs the other way, and that restraint is the reason to pay attention.
Lyndon Holland’s original score is the detail worth flagging. A BAFTA-winning composer on an indie adventure is a real investment, and it signals where the game’s priorities sit.
The minigame interactions are the weaker bet, in this paper’s view. Dialogue choices are the part the source actually describes. Minigames are the other half of the loop, and how much they add is a matter of taste, not something the description settles.
The three-stranger structure has the same risk. Collision stories only work if all three threads earn their place. If one drags, the others have to carry it, and the player has to trust that the payoff is coming.
Six outlets is also a small pool for a 7.2. This paper would treat that figure as provisional — a wider set of reviews could move it, in either direction. It is not a number to treat as settled.
The scale of the bet is what stays with you. Variable State built a supernatural story around three ordinary lives in one city and handed the score to a composer with a BAFTA on his shelf. That combination is rare, and it is the reason Last Stop is worth a look rather than a pass.
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