“Gyakuten Kenji” is the latest game in the “Gyakuten Saiban” (Ace Attorney) series. This gaiden title puts players in control of Reiji Mitsurugi (known to Americans as “Miles Edgeworth”), the prosecutor that was, for the first two games in the series, Phoenix Wright’s chief rival. This game takes a look at some of Edgeworth’s adventures in prosecution, without the meddling of that darned Phoenix Wright.
The game’s soundtrack features a few bits of work from Noriyuki Iwadare (Lunar, Grandia), but the vast majority of the soundtrack is composed by Yasuko Yamada (of ZUNTATA fame). And, to be frank, Yamada’s music just doesn’t have the same feel as the other albums in the series?
Now comes the part where you might expect me to say: “that isn’t necessarily a bad thing.” Lord knows I’ve said it dozens of times when I hear an unexpected change in a series’ music. But this time, I have to say, it is definitely a bad thing. Despite being the largest soundtrack of any game in the series, most of the music is fully forgettable. I actually tested this on myself to confirm that such a statement is verifiable, at least in my own life. I listened to the entire soundtrack every day for a week. At the end of the week, I tried to recall as many melodies as I could from the soundtrack. I could only recall a handful.
The melodies that win over so many game music fans from previous Gyakuten titles are usually found within the courtroom itself. The music that plays during the presentation of evidence, cross-referencing, accusations, and the classic “Objection!,” all of these melodies are easy for me to recall at a moment’s notice, from all the previous games (though the first game has the most memorable music, to be sure). Even Gyakuten Saiban 4, which traded out Phoenix Wright for the new defense attorney, Apollo Justice, had memorable music. That particular soundtrack also rested on the laurels of some new themes, such as the Serenade of Love. But Gyakuten Kenji has nothing new to offer, and it has little of the good old stuff to rely upon either.
As a matter of fact, my favorite track from the Gyakuten Kenji OST was a new arrangement of the “Gumshoe” (Keisuke Itonokogiri) theme, heard in many previous Gyakuten Saiban soundtracks. And the only thing I liked about it was that the original melody was present. The additional arrangement of melody and harmony around the track didn’t change my opinion of the song in one direction or another.
The quality of the audio is another thing that bugs me. This series has a history of using a strange, lo-fi chiptune sound. It wasn’t exactly 8-bit, and it was too alien to my ears to be considered “nostalgic.” But it worked. They tinkered with that synthesized soundscape in Gyakuten Kenji, and I have to say I don’t like the result. Some of the pieces were downright irritating because of the synthesizers used.
I’m sorry to say it, but I’m not sure I can recommend this OST. Collectors for the series will probably want it anyway. And though I’m still not impressed with the source melodies, perhaps a new orchestral or jazz album will help me to appreciate Yamada’s work. The OST itself I can happily do without.
