Life is Strange as drama (spoilers)
Life is Strange is, as far as I'm aware, somewhat unique amongst computer game stories in that it represents an interactive tragedy. To be sure, there are plenty of other games out there which end unhappily, but that's usually a case of "the future did not want to change"; the obstacles in the protagonist's path are sufficiently insurmountable that such a victory as they can manage only comes at a cost that, while they're willing to pay it, is still great. Life is Strange, on the other hand, is about hubris, nemesis, and catharsis. That this is rarely attempted in interactive entertainment is not surprising, since much of the point of tragedy is the inevitability of the outcome, or as Stoppard had it:
"There is no choice involved...the bad end unhappily, the good unluckily. That is what tragedy means."
Life is Strange does struggle a bit with the conflict between the art and the medium, in the sense that for tragedy to be inevitable Max's agency has to be somewhat limited, and that's particularly difficult to do convincingly in a story wherein the protagonist is controlled by the viewer. It's even more difficult because Life is Strange is a time travel story, though initially Max's power is somewhat limited - her basic ability to rewind minutes is relatively easy to control narratively. Later on in the game, though, she learns how to jump back in time to the time a photograph was taken and change her actions in that immediate time period. It's around that point where the plot begins to become a bit more questionable and headscratching; not only is it substantially harder to understand how the game's temporal mechanics work (it's only my interpreation that Max can change her actions for a brief period around when the picture was taken; this seems to flip her between one of many possible future timelines), but it's also harder to see why the consequences of Max and Chloe's actions are what they are.
Considered as a tragedy, Life is Strange is somewhat weird in that Max's first real action in the plot is her act of hubris; the first time she reaches out, rewinds time, and saves Chloe's life. The majority of the remaining story is about Max versus nemesis, as the world becomes increasingly determined that she can't have Chloe and she becomes increasingly unwilling to accept this. The game doesn't entirely do this very well though; the idea that Max's actions are a sin against nature is mentioned by Chloe on one occasion and by Warren much later, but it's not really followed up on and the player doesn't really get the impression that she's responsible for the damage to the natural world that goes on as the episodes progress. In particular, there's the issue that Max recieves her first vision of the tornado (which is the personification of Nemesis in the story, if anything is) before the first time she rewinds time. The second big issue is that, considered as tragedy or even just considered as storytelling, Max lacks agency. It's only really tragedy if the heroine connives at her own downfall, but Max's initial reaction to save Chloe is just instinctive, and even worse, she doesn't at that point expect it to work. The question of how Max became able to rewind time is never really answered, so in large part it feels like the Gods are just being jerks. The game does do an excellent job of illustrating that Chloe's not supposed to be alive; she dies in every episode, and Max herself realises that the harder she tries to help Chloe the worse things seem to become. Given this, the whole tornado-as-Nemesis thing seems a bit forced; it jams another plot element in that's not really necessary into what's already quite a full coming-of-age-gone-horribly-wrong story. To be sure, the game has more emotional impact as tragedy and would lose much of its point if it had a happy ending, but it does feel somewhat like the tornado exists purely in order to force Max to choose between her hometown and her beloved, and a writer with more imagination could have come up with an approach that was less heavy handed (for example, requiring her to be in more than one place at a time in order to protect Chloe and other people...) .
Overall, the fact that LiS can even be evaulated directly as art as I am doing here, rather than considered as a game, is a clear sign both that storytelling in games is maturing and that Life is Strange in particular is a high point. It struggles with a lot of the things you might expect an early attempt at adapting an old type of story to a completely new medium to struggle at, but it's worthwhile for it nontheless.