PS1 quite famously singlehandedly changed the target audience of consoles from little kids to college-age people. Largely due to ‘Wipeout’ with its acid visuals by Designers Republic and the edm soundtrack, and PS1’s marketing, also with DR’s involvement, including game rooms in over fifty nightclubs in the UK alone.
The first ‘Wipeout’ mostly had original instrumental edm music by Tim Wright, aka CoLD SToRAGE, with just three tracks by Leftfield, The Chemical Brothers, and Orbital. But the sequel ‘Wipeout 2097’, released a year later, had Future Sound of London’s ‘We Have Explosive’, Fluke’s ‘Atom Bomb’, an instrumental of The Profigy’s ‘Firestarter’, and the like.
In a gaming club near my home, the owner straight up put the ‘Wipeout 2097’ cd in the console and let it play the music like a stereo system. Which, by the way, is something PS1 could do but N64 couldn’t, because the latter still relied on cartridges.
Now imagine Nintendo 64 kids dealing with any of that for the first time.
PS1 quite famously singlehandedly changed the target audience of consoles from little kids to college-age people. Largely due to ‘Wipeout’ with its acid visuals by Designers Republic and the edm soundtrack, and PS1’s marketing, also with DR’s involvement, including game rooms in over fifty nightclubs in the UK alone.
that’s excellent context, thank you!
The first ‘Wipeout’ mostly had original instrumental edm music by Tim Wright, aka CoLD SToRAGE, with just three tracks by Leftfield, The Chemical Brothers, and Orbital. But the sequel ‘Wipeout 2097’, released a year later, had Future Sound of London’s ‘We Have Explosive’, Fluke’s ‘Atom Bomb’, an instrumental of The Profigy’s ‘Firestarter’, and the like.
In a gaming club near my home, the owner straight up put the ‘Wipeout 2097’ cd in the console and let it play the music like a stereo system. Which, by the way, is something PS1 could do but N64 couldn’t, because the latter still relied on cartridges.
Now imagine Nintendo 64 kids dealing with any of that for the first time.