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The most common causes of this issue are: But witnessing creations like this remade intro rekindle a longing to return to that place, and fuel fans’ dreams that with today’s technology, Wipeout’s universe could be fleshed out to a degree unimaginable when the first game was being developed 25 years ago.Your IP address has been temporarily blocked due to a large number of HTTP requests. Some will argue that moment’s long since passed, and Wipeout already left its mark. So much so that concerned politicians alleged the uppercase “E” in the game’s logotype was a playful wink to ecstasy. club scene in the ’90s, like Orbital, Underworld and Sasha, Wipeout represented a cultural moment that racing just happened to be a part of. From Cold Storage’s original music in the first instalment and Sega Saturn port of 2097, to all the songs from licensed artists propelling the U.K. The tDR mention is interesting as the identity (logo and type included) certainly shares an aesthetic with the sci-fi racing world that the studio designed for the classic mid-90s video game, Wipeout.Īnd you can’t honour Wipeout’s contribution to the more aesthetic side of motorsport without mentioning its soundtrack. In terms of influences on the project, Turley name-checks the work of the Designer’s Republic and the Pre-Op Art graphics of Italian designer, Franco Grignani, whose work was exhibited across two London exhibitions this year. It was the logical conclusion of life imitating art, which had only amplified life in the first place.

Hell, it’s little wonder why every single person who held a PlayStation controller in 1995 immediately recognised the influence behind F1’s comprehensive rebranding in 2017, led by Wieden+Kennedy London’s Richard Turley. Much of it is frustratingly dark.)īranding created for Wipeout 3’s eight teams by The Designers’ Republic. If you need a reminder of precisely how far we’ve come, here’s what the first game’s entirely pre-rendered intro looked like back in 1995. The city flyover through the buildings and trees toward the grid has me salivating at how a new Wipeout - particularly with this aesthetic rather than what we saw in the HD era - would look like backed by the power of the PS5. In addition to simply being an excellent racing game, the third iteration remains a paragon of visual and sound design that I don’t feel has been matched in the genre since.īrosdau’s work allows us to visualise revisiting those early games. Personally, I’d be pining for a Wipeout 3 remake.

It would have been lovely to see a remake of Wipeout 2097 in particular, considering the sequel is generally regarded as more superior on account of its myriad quality-of-life improvements. That said, it could never sate the need for a new experience, nor did it tap into Wipeout’s PS1 glory days, which were grittier and a bit more sharp-witted, owing to the Designers’ Republic’s anti-establishment bent. A compilation of Wipeout HD and Fury on the PlayStation 3 and Wipeout 2048 on the PS Vita, Omega Collection was a respectable refinement of the series’ final era. The last entry in the Wipeout saga, if you could call it that, was 2017’s Omega Collection.

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