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When I found out that Don’t Nod — the creators of the first Life is Strange — had started developing a new narrative game, I was incredibly excited. Even now, almost 10 years later, I’m still searching for something similar and often end up disappointed. The new game promised everything we loved about the original: intriguing characters, a mysterious setting, and deep world-building. But did it actually deliver?
Lost Records: Bloom & Rage comes from Don’t Nod Montréal, a studio composed of developers who worked on the first two Life is Strange games. However, it’s important to note that this is not the exact same team responsible for the original Life is Strange. The Montréal branch was founded in 2020, and this project serves as its debut title.
Under the direction of Michel Koch, alongside key figures like Luc Baghadoust and Catherine Winchelli, the game shares some creative DNA with Life is Strange but is not a direct continuation. Instead, it stands as a new intellectual property and a spiritual successor. The Life is Strange series remains under Square Enix and Deck Nine, whose most recent installment was met with mixed reactions.
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After being underwhelmed by the latest Life is Strange entry, I approached Lost Records: Bloom & Rage with cautious optimism. There are certainly elements here that will appeal to fans of Max and Chloe’s story, but some differences become apparent early on — ones that are harder to overlook.
In narrative-driven games, the story and characters take precedence over gameplay mechanics. When a game is built around player choice and character interaction, the writing and cast need to be engaging enough to carry the experience. This is where Lost Records struggles.
The biggest issue surfaces almost immediately: its protagonist, Swan. She is a quiet, introverted teen burdened with insecurities and social anxiety. On paper, this should make her a compelling lead — especially for players who see themselves in her struggles (like myself). However, as the game progresses, it becomes clear that her characterization lacks depth. Her defining traits — self-consciousness about her weight and a timid demeanor — never really evolve beyond surface-level depiction. As a result, she feels more like a background character rather than someone who can carry the story.
Max from Life is Strange was also reserved, but the game allowed players to shape her personality through choices — she could push back, speak her mind, and surprise others. Swan, on the other hand, remains largely static. She isn’t quite a passive bystander, but her meekness quickly becomes tiresome.
One of Life is Strange’s strengths was its rich supporting cast. Max and Chloe’s journey was complemented by a broad range of characters who added depth to the world. Lost Records, in contrast, feels noticeably sparse. There’s no school environment, few side characters, and little in the way of subplots that might add emotional weight. While the narrative structure — framed as Swan’s recollections — justifies some of this emptiness, it doesn’t make the world feel any more engaging.
The game’s dialogue system also feels clunky, lacking the natural flow of previous Don’t Nod titles. The interaction between characters never quite reaches the emotional resonance of Life is Strange, making it harder to feel truly invested in their relationships.
Visually, Lost Records is well-crafted. The game captures a stylized version of the 1990s, a setting designed to tap into the nostalgia of millennial players. However, rather than feeling truly authentic, it leans heavily on broad cultural references — VHS tapes, cassette players, period-appropriate music — without fully immersing players in a lived-in world. The result is an environment that is pleasant to explore but ultimately somewhat idealized and one-dimensional.
Much like Max’s camera in Life is Strange, Lost Records gives Swan a camcorder. The difference is that, unlike Max’s occasional photography moments, Swan carries her camera everywhere and can use it at any time.
In theory, this mechanic adds an extra layer of player agency, allowing self-expression through the protagonist’s perspective. In practice, it often feels like padding — encouraging players to capture endless details, from animals in the forest to posters and graffiti. While the ability to later edit these recordings is a nice touch, the constant need to document everything slows the pacing significantly.
Lost Records: Bloom & Rage tells a story of teenage friendships, much like Life is Strange. However, this time, the target audience feels even more specific. Whereas Life is Strange had a broader appeal, this game leans further into themes and character dynamics aimed at a primarily female audience.
While that isn’t inherently a flaw, it does mean that not all players will connect with the story in the same way. As someone who has revisited Life is Strange multiple times and found its narrative compelling, I found Lost Records lacking that same level of engagement.
It’s difficult to judge the game fully at this stage, as the second and final part is due in April. However, based on what’s available so far, Lost Records: Bloom & Rage is a competently made, occasionally engaging experience that doesn’t quite recapture the magic of the original Life is Strange.
Verdict
Lost Records: Bloom & Rage has all the right ingredients — a well-crafted world, a mysterious story, and a somewhat interesting cast of characters. However, its protagonist feels too passive to be truly engaging, and its world, while visually appealing, lacks the depth needed to leave a lasting impression.
