She’s kind and curious, but feels insecure about her worth and her weight.
She’s a good friend, but doesn’t always say the right thing.
She wants to express herself creatively, but is still figuring out how.
You just hope you have good friends to share in the highs and lows.
But it still isn’t common to see middle-aged women leading a game.
Much of Lost Records will be recognizable for fans of Life is Strange.
And you spend a good amount of time walking around its environments and talking to other characters.
That impending move imbues Lost Records with a perpetual melancholy.
The most foundational change is Lost Records' use of dual perspectives.
The game is split into two timelines, with one presented in third-person and the other in first.
Swann is in her early forties now, and we see everything in this timeline from her first-person perspective.
Here, we control Swann from third-person.
Games have played with perspective before.
There are moments when Tape 1 stumbles.
Performance issues crop up from time to time.
I noticed pop-ins pretty consistently when the story switched from third-person to first-person.
And the frame rate chugged for me in a climactic moment towards the end of the chapter.
But the game’s bigger problem is that Lost Records continues Don’t Nod’s penchant for corny dialogue.
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Reviewed on PS5.
