As a seasoned game developer with a rich history of crafting emotional narratives, I can confidently say that Lost Records: Bloom and Rage is a must-play for anyone who has found solace in the heartfelt world of Life is Strange.
“Lost Records: Bloom and Rage” set for release early in 2025, unveiling the enigmatic tale of Swann and her estranged companions who vowed to never meet again after a 27-year absence. Having worked on narrative adventure games through the acclaimed “Life is Strange” series, many developers from Don’t Nod Montreal are eager to demonstrate the evolution of their craft in this genre over the past decade. Longtime fans and newcomers alike will have the chance to witness this progression firsthand with this fresh encounter.
At Gamescom, Game Rant had an engaging chat with Michel Koch (creative director), Luc Baghadoust (executive producer), and Cathy Vincelli (producer) from the studio behind “Lost Records: Bloom and Rage”. It was evident that Don’t Nod Montreal is eager for their latest project, “Lost Records”, to resonate with fans who have followed their success in narrative adventures. They aim to offer a fresh, captivating journey featuring all-new characters. For the sake of clarity and conciseness, this interview has been edited.
Lost Records: Bloom and Rage as the Studio’s First Brand-New Narrative Adventure Game
A: Is it your perception that narrative adventure games are becoming more interactive, as seen in games like Lost Records: Bloom and Rage, and thus addressing the frequent criticism of not being interactive enough?
Koch: Absolutely. You know, video games continue to advance, and I believe the original creators strive to push their boundaries, asking themselves questions like, “What’s next? What fresh ideas, technological advancements, and unique gameplay mechanics can we incorporate into our games to make them stand out in terms of storytelling?
In our approach, we’ve strived to introduce novelty in the narrative arcs and conversations. Our aim remains to create an interactive dialogue experience. Essentially, this involves you assuming the role of the character and making decisions. I believe the innovative aspect lies in offering multiple options, which is crucial in branching narratives, as it forms the essence of what we value in these interactive games.
Let’s aim to design these games so they feel more responsive to your actions, giving the impression that the game adapts to your decisions rather than guiding you along a predetermined path. In essence, we want to create a dynamic experience similar to an interactive film.
A: What insights do you believe the game “Lost Records: Bloom and Rage” gleaned from Don’t Nod’s extensive past in creating these narrative-driven adventure games?
Koch: At our studio in Montreal, we’re crafting a fresh tale, a brand-new adventure called “Lost Records”. This isn’t just any story; it’s a new intellectual property being developed from the ground up by Don’t Nod Montreal. What makes this exciting is that we have the opportunity and good fortune to create a completely original IP and characters, giving us the freedom to shape them as we please and produce all the games in the series ourselves.
This game is developed by many members of the team responsible for “Life is Strange” and its sequel, “Life is Strange 2”. I was one of the game directors for both “Life is Strange 1” and “Life is Strange 2”, while our writer, Jean-Luc Cano, penned all those games. Our new project, “Lost Records: Bloom and Rage“, carries on many elements from our past works. We are passionate about adventure games, storytelling, and character development, which you’ll see reflected in this game. However, we have learned a great deal from our previous projects, so we aim to refresh the genre, enhance interactivity, and intensify player engagement – these are our goals for “Lost Records: Bloom and Rage“.
I believe the player will find themselves right at ease due to their past encounters with Don’t Nod’s previous titles, particularly the Life is Strange series. However, you’ll notice that we’ve introduced a number of novel mechanisms designed to make the game feel more responsive and engaging.
Q: How often does the game balance the present day versus the flashbacks for the summer?
Baghadoust suggests that approximately 20-25% of the game takes place in the current timeline, while the remaining part is set in the past. Upon entering the game, players won’t have the option to choose between the two time periods. Instead, the narrative will proceed as follows: initially, players begin in the present, then delve into these memories. The game structure revolves around these significant moments, and you will transition back to the present after exploring the past, where discussions about these memories continue.
Could you explain how the decisions made within “Lost Records: Bloom and Rage” impact the overall storyline’s progression?
Koch emphasizes that we appreciate various aspects of choices, ranging from immediate outcomes, mid-term effects, and long-term impacts. We strive to incorporate these elements into our game as well. Initially, you’ll notice multiple versions of scenes, tailored according to our previous discussions, aimed at enhancing reactivity. This refers to your feelings, conversation partners, decisions made, and even subtle changes in the scene due to people responding to what you look at or say something different based on past choices. Our goal is to make the game feel authentic and responsive, with your actions shaping the scenes dynamically and naturally.
It’s possible that you’ve encountered symbols representing emotions, whether they’re positive or negative, throughout the game. What we’re creating here is a more prolonged experience that immerses you deeply into Swann’s journey as she struggles to find her place within this group and manages her friendships. Essentially, you’ll be faced with questions like: “Should I try to please everyone? Or should I say what they want to hear? Should I tell the truth? Should I stay true to myself? Should I keep a low profile?” These dilemmas will unfold as you progress through the game and form connections based on your decisions. Remember, it’s impossible to satisfy everyone, so some characters may grow distant from you over time while others remain close.
The events unfolding here will significantly impact numerous scenes in the game, particularly the conclusions set during the summer of ’95 and the endings in the current timeline, depending on how the reunion plays out. Additionally, there are some more traditional consequences, similar to those found in “Life is Strange,” where certain decisions have long-term ramifications. In this game, your choices in both the present and past will drastically alter the course of the stories. Specifically, the reasons for their vow never to meet again, as well as the contents of the box in the present time, will all vary based on your decisions.
A: Could you elaborate a bit on what led you to use the heart symbols and sprouting plant icons in particular?
Koch: We’ve dabbled in numerous games, such as my fondness for Baldur’s Gate 3 and finding enjoyment in observing how games are designed to ensure reactions from characters based on what I say. However, this current project was influenced by that, yet we aimed to make it feel more natural. One aspect of Baldur’s Gate that felt peculiar to me was having to glance at the dialogue and then search elsewhere for the character’s response. Our goal was to streamline this process by displaying feedback right alongside the dialogue options you’re already viewing.
In this scenario, the hearts symbolize the reactions of others in a conversation with Swann, showing approval or disapproval without explicitly identifying who feels what. This design choice puts you, the player, in Swann’s shoes, making you guess whether your statements are well-received or not, but without knowing for certain who is pleased or displeased. For instance, I might say something to you now, and though it may seem disliked by you, I wouldn’t know if that’s the case; all I can sense is a potential positive response from someone else, but not exactly who.
We wanted to do it this way, but you will definitely see that because, just like with the negative reaction of the others, some will get closer to you and will be nicer to you. We will continue to have the recap screens at the end of part one and part two, where will have a much more data-centric explanation of your walkthrough that you will be able to compare with the world and with your friends.
A: I’m wondering if you could share your process for creating the mysterious and slightly paranormal aspect in this game. How did you manage to balance the development of the mystery with the eerie, supernatural feel?
User: We’ve always been drawn to supernatural tales and their enigmatic allure. Some of our preferred TV series include ‘Twin Peaks’ or ‘The X-Files,’ with ‘Twin Peaks’ standing out as a significant influence for the eerie atmosphere we aim to create in this game. I admire ‘Twin Peaks’ because it’s not only an engaging character-driven narrative but also a compelling drama. It has elements of comedy and dark humor, yet it maintains this captivating ambiance surrounding various characters that contribute to the unusual events unfolding throughout the story. The town of ‘Twin Peaks’ itself is magical, with mysterious vibes attached to its inhabitants and events that make the narrative intriguing.
We have the same kind of approach here. When we start the game, we know that we made a pact – a promise – 27 years ago, but the characters have already started to forget. We don’t remember exactly everything, and even this kind of memory… it feels a bit weird. It’s a bit… why did they forget everything? We don’t know at the beginning of the game, but as the game advances, you will see why and you saw some of that at the end of the first demo. There are those weird things that are happening around them, and it will get more and more important as we advance. And of course, we get linked to the end of the summer. I don’t want to say more than that.
Lost Records: Bloom and Rage Aims to Feature a Real World and Real People
A: Why did you select the ’90s as the setting for Lost Records: Bloom and Rage, and what influenced your decision to explore truths and secrets during that era, given Swann’s connection to it?
Vincelli: Our creative crew, along with other team members, largely grew up in the ’90s. This period was influential in shaping many people’s dreams, identities, and friendships. We’ve drawn heavily from this era. To add, we have a strong affinity for mysteries and science fiction, which we aim to reflect in our game as well. Delving into our personal nostalgia wasn’t difficult when it came to incorporating ’90s elements in the game. Research was indeed conducted to ensure authenticity, but the ’90s we’re portraying is a reflection of our own memories and experiences from that time.
As others spoke about their Troll dolls, we replied, “It’s time for us to create one for the game.” After trying out the demo, you could sense the ’90s ambiance in Swann’s room. Some items in there reminded me of what I had as a child, making it relatively easy to draw from my personal memories.
A: When creating characters like Swann, who doesn’t fit typical video game stereotypes for a female lead, particularly in terms of body type, how did you approach this design process considering the ’90s body ideals?
Koch: Our intention was to develop characters that seemed genuine, as if they could be individuals we knew from our teenage years or high school. We studied album photos and class pictures of friends, and yes, we examined ourselves too. We all came in different shapes and sizes, and none of us felt like supermodels. Instead, we were ordinary teenagers with blemishes, poorly dressed, and often awkward in photos. Our aim was to bring these characters to life and make them feel like people we could have encountered during our adolescence.
A: Could you tell me more about the concept of representation throughout Lost Records: Bloom and Rage, and what objectives are being pursued in this regard?
Vincelli: Essentially, Michel’s points resonate with me: we aim for our characters to feel authentic and familiar. I strongly believe that diversity is crucial, not only among the game development team but also within our character roster. It’s more about reflecting the diverse world we live in, rather than making diversity a key selling point of the game. For us, inclusivity is just a natural part of creating our games and representing various individuals within them.
At Don’t Nod Montreal studio, our team is exceptionally diverse, a result of the opportunity we had to practically rebuild it when we shifted to Canada four years back. Remarkably, we boast a gender-balanced workforce, and this isn’t just limited to Canadians. We have individuals from various regions across North America contributing to our projects, including those who relocated here from Mexico. As a result, I believe we’ve assembled a multicultural team whose unique perspectives enrich our game development process for Lost Records. Regularly, we engage in playtesting with the team, ensuring that we remain open to their ideas and suggestions.
Question: Could you describe your process for creating the camcorder design? In what way does it contribute to the narrative, and how did you strategize to include it in the storyline?
In selecting our camcorder for the game, we aimed to capture a sense of dynamism. We wanted something reminiscent of the ’90s, as that was when camcorders first gained popularity and sparked enthusiasm over this new technology. This is similarly reflected in Swann, who aspires to be a videographer and director. In terms of gameplay, we use the camcorder to advance the story by filming specific events to create a memoir. This memoir will include Swann’s voiceover, offering insights into the world and her character. Additionally, we incorporated dialogue choices that only appear when certain things are filmed.
In the garage depicted in the “Lost Records” demo, an intriguing scenario unfolds. If you decide to record a pizza, it triggers a conversation between the characters about whether pizza tastes good when it’s cold or not. This interaction wouldn’t typically occur unless you were filming that particular item. Moreover, the characters may respond to your act of recording them. Additionally, there will be puzzles connected to your camcorder, and some of these memoirs will be linked to achievements, such as amassing a collection of birds after filming them, or discovering other items in the surroundings.
The camcorder is a crucial feature in gameplay, yet we encourage users to be imaginative when using it. For instance, they can replace certain shots to complete creating their memoir. We’re eager for users to share their unique creations because everyone tends to use the camcorder differently. For example, Michel has a very cinematic approach, Luc is chaotic, and I prefer tracking shots. This way, players get to know Swann better based on what we ask them to film, but also have the opportunity to add creativity, making the overall experience more prolonged.
User: For me, there’s something special about having a camcorder on hand, as it allows for a record of experiences with personal memories attached. If you come across something interesting, you can capture it and revisit it later. To me, it’s a means to document your thoughts or focus on things that catch your eye, whether they’re cute little animals or unique, glowing objects. I appreciate the freedom it provides for self-expression.
In an effort to entice you to try our latest IP, I’d like to introduce you to “Lost Records: Bloom and Rage.” Here’s a snapshot of what makes this game a must-play:
It’s a thoughtful inquiry indeed! Since we developed Life is Strange and its sequel, many players might not be aware that we have another game now. This new release, for us, continues our creative journey, but it’s a fresh start for those who don’t know about Don’t Nod yet. Ideally, we want them to discover our game and give it a try, as Square Enix often associates Life is Strange with the game, which may not always draw attention to our latest project.
If you appreciate “Life is Strange”, much like we initially mentioned, it possesses similar genetic makeup and an eagerness to portray genuine emotions of real life. This authenticity is primarily achieved through the skillful workmanship and meticulous care demonstrated by the entire team. It’s these small details that truly bring the game to life, and they are aspects we value greatly. For example, Michel has spent a considerable amount of time collaborating with the lighting artist to perfect the lighting in Swann’s room – details like this may not stand out to players, but they contribute significantly to creating an authentic character experience. In essence, we take pride in our dedication to detail.
If fans are fond of both “Lost Records” and “Life is Strange,” it’s likely they’ll discover several shared aspects in them.
Koch is saying that if a player has a fondness for the game ‘Life is Strange’, having grown up with it like the developers did while working on it, they should consider playing ‘Lost Records: Bloom and Rage’. This could lead them to find something similar to what they already cherish in Life is Strange. Now that we, as creators, have matured, we can now explore the thoughts of older characters regarding their interactions with teenagers, a perspective that was previously missing when our stories were only about teenagers. We aim to create characters like Swann, Autumn, Nora, and Kat who are equally loved as Max and Chloe or Sean and Daniel.
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2024-09-09 19:44