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But that, like the Beatles' heyday, was a bygone era — nowadays, videogames are scored like Hollywood blockbusters. Name punk bands anoint Tony Hawk skateboarding games, and superstar DJ Amon Tobin scored a 2005 entry in Tom Clancy's Splinter Cellmilitary espionage series. But as hot new systems like the XBox 360 (dwarfing the early Nintendo in sophistication and high-tech capabilities) take over, critics quietly consider "The Uncanny Valley," an odd but increasingly apparent principle that as videogame characters and situations get more realistic, at some point they get toorealistic, to the point where it creeps you out and it no longer feels like a game.
Videogame music follows a similar pattern. Modern tunes are all right, of course, but nowhere near as bizarre and distinctive and real as the Casiotone vistas Koji Kondo once whipped up, and guys like Martin and Jean and the Advantage now rightfully deify and righteously reinterpret.
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