The year was 1995, I was 10 years of age. The number 1 single in the UK was Think Twice by Celine Dion, and Batman Forever was the highest grossing movie across the pond in the States. Manchester United, unfortunately, won their 3rd Premier League title and the world was on tender hooks for the OJ Simpson verdict.

吨 他的一年是1995年，我10岁。 英国排行第一的单曲是席琳·迪翁(Celine Dion)的《想两次》(Think Twice)，而《蝙蝠侠永恒》则是全美国票房最高的电影。 不幸的是，曼联赢得了他们的第3个英超联赛冠军，整个世界都因OJ Simpson的判决而陷入困境。

The gaming scene was by and large regarded as something for, male only, individuals that were socially inept —for individuals that felt safer in the confines of their own four walls, happy to socially distance themselves before it became government policy. A far cry then from the billion dollar industry currently propped up by gargantuan titles such as Fortnight, Minecraft and Roblox.

总体上来说，游戏圈只适合那些社会上无能为力的人，对于那些在自己的四堵墙范围内感到更安全的人，他们乐于在成为政府政策之前在社会上与自己保持距离。 当时与十亿美元的行业相去甚远，目前该行业由巨人头衔如Fortnight ， Minecraft和Roblox支撑。

These attitudes would not remain however; they would rapidly shift and directly collide with ‘90s club culture and anti-establishment aesthetics from The Designers Republic like an atom bomb.

但是，这些态度不会保留。 他们会Swift转移并直接与90年代俱乐部文化和设计师共和国的反建制美学相撞，就像原子弹一样 。

按开始 (Press Start)

The Sony PlayStation, released in November 1994 in Japan, and eventually September 1995 in US and EU territories, launched with a number of interesting games — but none quite so groundbreaking as Wipeout.

索尼PlayStation于1994年11月在日本发行，并最终于1995年9月在美国和欧盟地区发行，发行了许多有趣的游戏，但没有一款像Wipeout那样具有开创性。

I remember it distinctly. I couldn’t possibly forget, wandering into my local electronic store to pass a bit of time. It was winter, long nights illuminated only by orange street lighting and passing headlights. Celine Dion was on the radio all the time.

我清楚地记得。 我无法忘记，走进当地的电子商店来消磨时间。 那是冬天，漫长的夜晚只有橙色的街道照明和前大灯照亮。 席琳·迪翁是在电台所有的时间 。

Indoors, beneath long tubes of off-white fluorescence, a beacon of Maximum-Minimalism glittered in my direction. The box was decorated with bright, heavy typography and advanced looking extraterrestrial iconography akin to something from Predator. If you haven’t seen the 1987 classic, alien iconography is used towards the end of the movie to signify the hero’s impending doom, when the antagonistic Predator activates its self-destruct sequence.

在室内，在长白色荧光灯管下，一个极简主义的灯塔向我闪闪发光。 盒子上装饰着明亮，沉重的版式和类似Predator的高级外星肖像。 如果 您还没有看过1987年的经典电影，影片末尾用异形的肖像来表示主人公即将来临的厄运，这是因为敌对的“捕食者”激活了它的自我毁灭序列。

I had never seen anything so grandiose in my then 10 years on Earth. You might even consider it gaudy. It was my first introduction to The Designers Republic — and it was glorious.

在那时的地球上，我从未见过如此宏伟的事物。 您甚至可能认为它花哨的 。 这是我对《设计师共和国》的第一个介绍-非常棒。

设计师共和国 (The Designers Republic)

Based in Sheffield, England, The Designers Republic was founded by Ian Anderson and Nick Phillips in 1986. At their inception, Anderson would design flyers for the band Person to Person. “I’d had no training, but I’d been doing posters for one off clubs that I’d run in Sheffield. The band (Person to Person) liked the stuff I was doing and asked me to do their sleeves as well.” Anderson goes on to say, “We do it for ourselves because we enjoy doing it, and all the bright colours and high contrasts, the insignia, the trimmings, are part and parcel of what we like. Thankfully, other people like it too.”

设计师共和国总部位于英格兰谢菲尔德，由Ian Anderson和Nick Phillips于1986年创立。在成立之初，Anderson将为Person to Person乐队设计传单。 “我没有受过训练，但是我一直在为在谢菲尔德经营的一家俱乐部做海报。 乐队(人对人)喜欢我正在做的事情，并要求我也做他们的袖子。” 安德森继续说：“我们为自己做，因为我们喜欢这样做，所有鲜艳的色彩和高对比度，徽章，饰边都是我们想要的东西的一部分。 值得庆幸的是，其他人也喜欢它。”

Even back in the hazy days of the late ‘80s, their jokey, playful attitude was on full show. “One of the best moments was when we seen a piece in Cut magazine, it wasn’t a review of ‘Kiss’ the record, but a review of the sleeve! This bloke had tried to decipher everything on the back.”

甚至在80年代后期的朦胧日子里，他们的调皮，嬉戏的态度就已充分展现出来。 “最好的时刻之一是，当我们在Cut杂志上看到一件作品时，这不是对'Kiss'唱片的评论，而是对袖子的评论！ 这个家伙试图破译背面的所有东西。”

“It was brilliant — we were down here laughing! Everything we’d ever wanted to do in terms of playing visual games — no disrespect to the punter — had come true!”

“真是太棒了-我们在这里笑了！ 就玩视觉游戏而言，我们曾经想做的所有事情-都不对下注者-都实现了！”

They would go on to create many sleeves, including the iconic artwork for the 1987 song “Don’t Get Mad… Get Even! (The New York Remixes)” by Age of Chance which was featured in Q magazine’s “100 Best Record Covers of all Time” in 2001.

他们将继续创造许多袖子，包括1987年歌曲“ Do n't Get Mad…Get Even！”的标志性艺术品。 (New York Remixes)”，《 时代机会 》( Age of Chance )在2001年《 Q》杂志的“有史以来最好的100张唱片封面”中都有介绍。

2097 (2097)

I didn’t own a PlayStation at the time of its release, it was much too expensive at the time and most folk were probably still uncertain if it would have any sort of success. Sega and Nintendo had been duking it out since the early ‘90s, and they were household names; how on earth could Sony compete with these two? Surely a Herculean task was ahead of them.

我在发布PlayStation时还没有拥有它，当时的价格太贵了，大多数人可能仍不确定它是否会取得成功。 自90年代初以来，世嘉和任天堂就一直采用这种方式，他们家喻户晓。 索尼如何与这两个竞争？ 当然，他们要面对艰巨的任务。

Evidentially, Sony had their finger on the pulse of youth culture considerably more than their competitors. If you visited any large Nightclub in London, you could expect there to be chill out areas for 1-on-1 time with a PlayStation. Wipeout, and later Wipeout 2097, with it’s tDR artwork and incredible, made-to-measure electronic soundtrack featuring The Chemical Brothers, Underworld, The Future Sound of London and The Prodigy — really was the culmination of 1990s artistic merit coming together in one neat, little, interactive package.

显然，索尼比竞争对手更能充分把握青年文化的脉搏。 如果您参观了伦敦的任何大型夜总会，都可以通过PlayStation进行1对1的休闲放松。 Wipeout和后来的Wipeout 2097 ，具有tDR艺术品和令人难以置信的，量身定制的电子配乐， 这些配乐以《化学兄弟》 ， 《黑夜传说》 ， 《伦敦的未来之声》和《神童》为特色 -确实是1990年代艺术功绩的完美融合，互动式小包装。

Rick Poynor from Creative Review on tDR’s artwork for Wipeout 2097, “In their era-defining work for Sony’s Wipeout PlayStation games, in the mid to late 1990s, they achieved probably their biggest international audience and their graphic imagery was even applied within the games, producing a seamless relationship between packaging and content.”

来自Creative Review的 Rick Poynor对tDR的Wipeout 2097作品进行了评论 ，“在1990年代中期至后期，他们为Sony的Wipeout PlayStation游戏定义了时代，他们可能赢得了最大的国际观众，他们的图形图像甚至在游戏中得到了应用，在包装和内容之间建立无缝的关系。”

Eventually, for Christmas, my parents bought me a PlayStation with a copy of Wipeout 2097. What a time to be alive.

最终，在圣诞节期间，我父母给我买了一个PlayStation，内含一份Wipeout 2097 。 多么活着的时间。

“By 1997, there were 52 clubs in the UK alone with dedicated PlayStation rooms. Sony’s other regional offices caught on, and the company was soon sponsoring extreme-sports events and music festivals around the world, including Big Love, Tribal Gathering and later, Lollapalooza.”

“到1997年，仅英国就有52个俱乐部设有专用的PlayStation房间。 索尼的其他地区办事处也很受欢迎，该公司很快就赞助了世界各地的极限运动赛事和音乐节，包括Big Love，Tribal Gathering和后来的Lollapalooza。”

Keith Stuart and Steve Boxer (The Guardian)

基思·斯图尔特(Keith Stuart)和史蒂夫·拳击手(Steve Boxer)(《卫报》 )

消灭3 (Wipeout 3)

For the third iteration of Wipeout, three years had passed since the launch of 2097. A bit of a swan song for the PlayStation, as the PlayStation 2 was just around the corner, ready to rally in a new generation of titles. As for the cover art of Wipeout 3, tDR were asked to take a more muted approach, still incorporating their trademark style, but undeniably more muted.

对于Wipeout的第三次迭代，自2097年推出以来已经过去了三年。 PlayStation 2即将来临，准备迎接新一代游戏，为PlayStation唱了一首天鹅歌。 至于Wipeout 3的封面，tDR被要求采取一种更加柔和的方法，仍然结合其商标风格，但不可否认的是，其柔和度更高。

Whereas in the past Maxium-Minimalism would have been appropriate, this very much felt like straight up Minimalism — matured almost, grown up and detached from the gaudy, but glorious, styling of Wipeout and Wipeout 2097.

过去，Maxim-Minimalism是合适的，但是这非常像Minimalism直截了当-几乎成熟，成长并脱离了Wapout和Wipeout 2097的华丽但光荣的风格。

The intro seemed more considered, more measured in its approach as well. Boot the game up, and after loading, you’ll be greeted with the usual brief flashes of tDR’s brash consumerism aesthetics. You’ll then be greeted with the construction, or deconstruction depending on how you look at it, of a ship played in reverse, once the pieces of the ship come together, so too does the music — an ambient drone that, again, seems to set a much more mature scene.

简介似乎在其方法上也被考虑得更多，更衡量。 启动游戏，并在加载后，会经常看到tDR轻率的消费主义美学的短暂闪光。 然后，您将对反向播放的一艘船的构造或解构(视其外观而定)表示欢迎，一旦船的各个部分汇聚在一起，音乐也将响起-似乎又是一架环境无人机设置一个更加成熟的场景。

歼灭 (Wiped out)

There aren’t many design agencies that I fawn over, but it would be fair to say that none have had quite the same impact on me as tDR have. So much of their artwork reflects the ‘90s perfectly, and still looks incredible 25 years after the inception of Wipeout.

我希望讨好的设计机构不多，但是可以公平地说，没有一家机构对我的影响与tDR一样。 他们的大部分作品完美地反映了90年代，并且在Wipeout诞生25年后仍然看起来令人难以置信。

A perfect intersection of graphic design, electronic music and games. I might have been too young to go out clubbing, but the alternative was just as good, if not better. Now, where did I place my old PlayStation? Time to fire up a copy of 2097 for old times sake.

平面设计，电子音乐和游戏的完美结合。 我可能还太小，不能出去泡吧，但替代方法也一样好，甚至更好 。 现在，我将旧的PlayStation放在哪里？ 是时候为了旧版本而发行2097份了。

I have a YouTube channel now! Please feel free to wander over and join me in discussing design from around the world. I’ll also be uploading UX and UI tutorials, and I sincerely hope you take some value in it.

我现在有一个YouTube频道！ 请随意徘徊，与我一起讨论来自世界各地的设计。 我还将上载UX和UI教程，我衷心希望您能从中受益。