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.

噸 他的一年是1995年，我10歲。 英國排行第一的單曲是席琳·迪翁(Celine Dion)的《想兩次》(Think Twice)，而《蝙蝠俠永恒》則是全美國票房最高的電影。 不幸的是，曼聯贏得了他們的第3個英超聯賽冠軍，整個世界都因OJ Simpson的判決而陷入困境。

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.

總體上來說，游戲圈只適合那些社會上無能為力的人，對于那些在自己的四堵墻范圍內感到更安全的人，他們樂于在成為政府政策之前在社會上與自己保持距離。 當時與十億美元的行業相去甚遠，目前該行業由巨人頭銜如Fortnight ， Minecraft和Roblox支撐。

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，這些態度不會保留。 他們會Swift轉移并直接與90年代俱樂部文化和設計師共和國的反建制美學相撞，就像原子彈一樣 。

按開始 (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月在日本發行，并最終于1995年9月在美國和歐盟地區發行，發行了許多有趣的游戲，但沒有一款像Wipeout那樣具有開創性。

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.

我清楚地記得。 我無法忘記，走進當地的電子商店來消磨時間。 那是冬天，漫長的夜晚只有橙色的街道照明和前大燈照亮。 席琳·迪翁是在電臺所有的時間 。

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.

在室內，在長白色熒光燈管下，一個極簡主義的燈塔向我閃閃發光。 盒子上裝飾著明亮，沉重的版式和類似Predator的高級外星肖像。 如果 您還沒有看過1987年的經典電影，影片末尾用異形的肖像來表示主人公即將來臨的厄運，這是因為敵對的“捕食者”激活了它的自我毀滅序列。

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.

在那時的地球上，我從未見過如此宏偉的事物。 您甚至可能認為它花哨的 。 這是我對《設計師共和國》的第一個介紹-非常棒。

設計師共和國 (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.”

設計師共和國總部位于英格蘭謝菲爾德，由Ian Anderson和Nick Phillips于1986年創立。在成立之初，Anderson將為Person to Person樂隊設計傳單。 “我沒有受過訓練，但是我一直在為在謝菲爾德經營的一家俱樂部做海報。 樂隊(人對人)喜歡我正在做的事情，并要求我也做他們的袖子。” 安德森繼續說：“我們為自己做，因為我們喜歡這樣做，所有鮮艷的色彩和高對比度，徽章，飾邊都是我們想要的東西的一部分。 值得慶幸的是，其他人也喜歡它。”

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年代后期的朦朧日子里，他們的調皮，嬉戲的態度就已充分展現出來。 “最好的時刻之一是，當我們在Cut雜志上看到一件作品時，這不是對'Kiss'唱片的評論，而是對袖子的評論！ 這個家伙試圖破譯背面的所有東西。”

“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-我們在這里笑了！ 就玩視覺游戲而言，我們曾經想做的所有事情-都不對下注者-都實現了！”

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.

他們將繼續創造許多袖子，包括1987年歌曲“ Do n't Get Mad…Get Even！”的標志性藝術品。 (New York Remixes)”，《 時代機會 》( Age of Chance )在2001年《 Q》雜志的“有史以來最好的100張唱片封面”中都有介紹。

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.

我在發布PlayStation時還沒有擁有它，當時的價格太貴了，大多數人可能仍不確定它是否會取得成功。 自90年代初以來，世嘉和任天堂就一直采用這種方式，他們家喻戶曉。 索尼如何與這兩個競爭？ 當然，他們要面對艱巨的任務。

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.

顯然，索尼比競爭對手更能充分把握青年文化的脈搏。 如果您參觀了倫敦的任何大型夜總會，都可以通過PlayStation進行1對1的休閑放松。 Wipeout和后來的Wipeout 2097 ，具有tDR藝術品和令人難以置信的，量身定制的電子配樂， 這些配樂以《化學兄弟》 ， 《黑夜傳說》 ， 《倫敦的未來之聲》和《神童》為特色 -確實是1990年代藝術功績的完美融合，互動式小包裝。

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.”

來自Creative Review的 Rick Poynor對tDR的Wipeout 2097作品進行了評論 ，“在1990年代中期至后期，他們為Sony的Wipeout PlayStation游戲定義了時代，他們可能贏得了最大的國際觀眾，他們的圖形圖像甚至在游戲中得到了應用，在包裝和內容之間建立無縫的關系。”

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

最終，在圣誕節期間，我父母給我買了一個PlayStation，內含一份Wipeout 2097 。 多么活著的時間。

“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，僅英國就有52個俱樂部設有專用的PlayStation房間。 索尼的其他地區辦事處也很受歡迎，該公司很快就贊助了世界各地的極限運動賽事和音樂節，包括Big Love，Tribal Gathering和后來的Lollapalooza。”

Keith Stuart and Steve Boxer (The Guardian)

基思·斯圖爾特(Keith Stuart)和史蒂夫·拳擊手(Steve Boxer)(《衛報》 )

消滅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.

對于Wipeout的第三次迭代，自2097年推出以來已經過去了三年。 PlayStation 2即將來臨，準備迎接新一代游戲，為PlayStation唱了一首天鵝歌。 至于Wipeout 3的封面，tDR被要求采取一種更加柔和的方法，仍然結合其商標風格，但不可否認的是，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.

過去，Maxim-Minimalism是合適的，但是這非常像Minimalism直截了當-幾乎成熟，成長并脫離了Wapout和Wipeout 2097的華麗但光榮的風格。

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.

簡介似乎在其方法上也被考慮得更多，更衡量。 啟動游戲，并在加載后，會經常看到tDR輕率的消費主義美學的短暫閃光。 然后，您將對反向播放的一艘船的構造或解構(視其外觀而定)表示歡迎，一旦船的各個部分匯聚在一起，音樂也將響起-似乎又是一架環境無人機設置一個更加成熟的場景。

殲滅 (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.

我希望討好的設計機構不多，但是可以公平地說，沒有一家機構對我的影響與tDR一樣。 他們的大部分作品完美地反映了90年代，并且在Wipeout誕生25年后仍然看起來令人難以置信。

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.

平面設計，電子音樂和游戲的完美結合。 我可能還太小，不能出去泡吧，但替代方法也一樣好，甚至更好 。 現在，我將舊的PlayStation放在哪里？ 是時候為了舊版本而發行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.

我現在有一個YouTube頻道！ 請隨意徘徊，與我一起討論來自世界各地的設計。 我還將上載UX和UI教程，我衷心希望您能從中受益。